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 Indianapolis Symphonic Choir Announces Ninth Annual Christmas Carol Commission Competition
Summary:Christmas Carol Commission
Deadline: 31 August 2018
Date Posted: 19 April 2018
Details: INDIANAPOLIS – April 16, 2018 – The Indianapolis Symphonic Choir announces the ninth annual Christmas Carol Commission Competition as part of its commitment to the future of choral music. Submitted works must be original, unpublished, and have not been publicly performed; between 3 and 5 minutes long; written for SATB (divisi is acceptable), mixed adult choir; and may be a cappella or utilize keyboard accompaniment. Text and language are at the discretion of the composer, and should be suitable for a Christmas/holiday performance.

Recent commissions by the Indianapolis Symphonic Choir include works by composers Mohammed Fairouz, Molly Ijames, Dan Locklair, James Mulholland and others. Winners of the Commission Competition have been published by these and other publishers: EC Schirmer, Shawnee Press, Beckenhorst Press.

“Inspiring composers to create new, beautiful choral music is among the greatest obligations of a leading chorus today,” states Artistic Director Eric Stark. “Elementary as it may appear initially, we are wise to remind ourselves that all music was once new. It is imperative that recognized musical institutions like the Indianapolis Symphonic Choir are at the fore of commissioning new works, consistently expanding the body of choral music.”

Adds General Manager Michael Davis, “With more than 35 million Americans singing in a chorus, more people participate in choral music than are involved with any other art form. Bringing to life a new work for chorus is an avenue to reach a large, impressive number of artists and audiences alike.”

Composers 35 years of age or younger (as of December 1, 2018) who are United
States citizens or legal residents may submit one composition via email (PDF) to the Indianapolis Symphonic Choir by 11:59 p.m. (EST), August 31, 2018. Compositions must be in PDF format and emailed to No consideration will be given to entries received after the deadline. Submitted materials will not be returned. Questions may be emailed to There is no entry fee, although a submission form must accompany the composition.

Further requirements include: the text should be suitable for a Christmas or holiday (secular texts are permitted) performance, and the text should be from a non-liturgical tradition (for example, contemporary poetry) or verse (secular or sacred). Hymn texts and the like are permitted, while texts such as “Ave Maria,” “Gloria” or “Hodie Christus Natus Est” are discouraged.

The winner will be notified by September 30, 2018 and the selected composition will be performed by the Indianapolis Symphonic Choir at its five annual Festival of Carols performances in Indianapolis. A cash prize of $1,000, plus travel and lodging for the world premiere in December 2018, will be awarded to the winning composer. Full details are available at

The Indianapolis Symphonic Choir is proud to be one of the nation’s largest, most active and respected choral musical institutions, marking its 82nd season in 2018/2019. Among the most prolific independent symphonic choruses in the United States, the Choir reaches in excess of 25,000 people each season with more than 25 performances and a comprehensive educational outreach program. The Indianapolis Symphonic Choir performed at The Kennedy Center in April 2018 as part of the SHIFT Festival of American Orchestras soon after their October 2016 return to Carnegie Hall to perform Zabur, a Symphonic Choir-commissioned work by composer Mohammed Fairouz. The 200 volunteer singers demonstrate the Choir's commitment to musical excellence through their talent and dedication during each 42-week season. The choral partner of the Indianapolis Symphony Orchestra, the Symphonic Choir was founded in 1937 at the ISO’s request to perform the great choral-orchestral repertoire. This continued partnership exhibits the very best of collaborative ideals – two independent arts organizations combining their strengths to create beautifully lasting musical results. The Choir is dedicated to excellence in the performance of choral music, the creation of new choral masterworks, and to community outreach and education throughout the community. The Choir is now in its ninth year as the official choral partner of the Indianapolis Public Schools, providing teacher training, educational resources, performance experiences and free printed music. For more information about the Symphonic Choir, visit

 The Cypress Symphonic Band 5th Annual Call for Scores
Summary:Wind Band Call for Scores
Deadline: 15 June 2018
Date Posted: 19 April 2018
Details: Entry Fee: None

Open to: Emerging composers, regardless of age or nationality

Prize: Selected compositions will be performed by the Cypress Symphonic Band, a volunteer community wind ensemble based in Houston, Texas.

Theme: The theme for this season is Stormy Weather. Preference will be given to those works that can be considered to match the theme.

Deadline: June 15, 2018
The Cypress Symphonic Band, a volunteer community wind ensemble, is dedicated to the performance of new compositions by living composers who have not yet been widely performed. The ensemble is currently seeking new or unperformed works for the 2017-2018 season.

Rules for Entry (entries not adhering to the following conditions will be rejected):

• Instrumentation: Works must be for standard wind ensemble and will adhere as closely as possible to the following instrumentation: 1 Pic.[opt], 2 Flute, 2 Oboe, 2 Bssn, 1 Eb Clar. [opt], 3 Bb Clar., 1 Bass Clar., 1 Contra Alto Clar., 2 Alto Sax., 1 Tenor Sax., 1 Bari. Sax., 4 Horns, 3 Trpts., 2 Trbn., 1 Bass Trbn., 1 Euph., 1 Tuba, 1 String Bass [opt]. The work may include piano and/or harp. Scores with minimal percussion parts (up to four players) will be given preference.
• Composer: There is no age restriction. Preference is given to those composers who do
not have a track record of performances by university or professional wind ensembles.
• Duration: There is no maximum or minimum duration, but preference is given to works
between 4 and 10 minutes in length.
• Difficulty: All difficulty levels are acceptable, but preference is given to those works that would be considered grade 4 or 5 by the standards of the latest Texas University Interscholastic League Prescribed Music List.

• Prior Performance: Works may not have been publicly performed. Reading and/or recording sessions for the purposes of submission are acceptable. The performance of the winning entries by the Cypress Symphonic Band will be considered world premieres and marketed as such.
• Published (including self-published) works will not be accepted.
• Previously submitted works will not be judged.
• Audio Files: Composers are strongly encouraged to include links to some sort of audio realization (MIDI, live performance, etc.) of their scores.
• Number of Entries: Composers may submit as many entries as they wish, each under separate cover.
• Age of Works: Entries must have been composed after Dec. 31, 2016.
• Copyright: The entrant must be the sole owner of the work and is the responsible party in the case of any disputes. All copyrights are retained by the composer. No arrangements will be accepted—only original works. The owner of the work agrees to limited performance and mechanical rights without payment of royalties to the Cypress Symphonic Band for a single live performance and the sale and distribution of demonstration recordings. The copyright owner also agrees to allow the band to place a copy of the recording on their website for a limited time for public access. Any recordings provided to the copyright owner by the Cypress Symphonic Band may be used by the copyright owner in perpetuity without restriction.
• Prize: The judging panel will select up to six works to be performed and recorded during the 2018-2019 season, and a recording of the performance, if available, will be provided to the composer. The panel reserves the right to select no entries if none are acceptable. Second Round composers will be informed prior to June 20, and final selections will be announced by July 15. Upon notification of Second Round selection, all performance materials must be submitted in PDF format by July 1, 2018.

Submission deadline: June 15, 2018

Please submit all materials electronically (pdf/mp3 format only. No Soundcloud links, please.) to:
Please contact Clancy Weeks with any questions regarding the submission requirements, and place CSB Submission in the Subject line.

 Claussen-Simon Foundation
Summary:PhD opera funding opportunity
Deadline: 25 May 2018
Date Posted: 19 April 2018
Details: Kompositions- und Promotionsstipendium - Ausschreibung 2018
Zum zweiten Mal nach 2015 schreibt die Claussen-Simon-Stiftung in Kooperation mit der Hamburgischen Staatsoper und dem Institut für kulturelle Innovationsforschung an der Hochschule für Musik und Theater Hamburg ein Kompositions- und Promotionsstipendium aus. Die Förderung beginnt am 1. Oktober 2018 und läuft zwei Jahre. Im Rahmen des Förderprogramms Dissertation Plus der Claussen-Simon-Stiftung wird der/die Träger/-in des Opernstipendiums an der Hochschule für Musik und Theater eine künstlerisch-wissenschaftliche Dissertation zur Erlangung des akademischen Grads Doctor scientiae musicae schreiben. Im Auftrag der Hamburgischen Staatsoper wird er oder sie parallel eine abendfüllende Kammeroper komponieren, die im Frühjahr 2021 an der opera stabile zur Uraufführung kommen wird.

Bewerbungen können bis zum 25. Mai 2018 bei der Claussen-Simon-Stiftung eingereicht werden.

Voraussetzungen für die Bewerbung sind ein abgeschlossenes Masterstudium sowie der Nachweis über eine Qualifikation zur wissenschaftlichen bzw. künstlerischen Forschungsarbeit, die auch zur Promotion berechtigt, sowie Deutschkenntnisse DAF, mindestens Level B1. Der/Die Stipendiat/-in sollte herausragende Fähigkeiten in der zeitgenössischen Musiktheaterproduktion zeigen, über ein überdurchschnittliches Reflexionsniveau verfügen und besonderes Interesse an einer Promotion haben. Das Höchstalter für Bewerber/-innen ist 35 Jahre. Weitere Informationen finden Sie in der Ausschreibung.


Composition and PhD scholarship - Call for applications 2018
For the second time since 2015, the Claussen-Simon Foundation is writing a composition and doctoral scholarship in cooperation with the Hamburg State Opera and the Institute for Cultural Innovation Research at the University of Music and Performing Arts Hamburg . The funding starts on October 1, 2018 and runs for two years. As part of the sponsorship program Dissertation Plus of the Claussen Simon Foundation, the holder of the Opera Fellowship will write an artistic-scientific dissertation at the University of Music and Drama to obtain the academic degree Doctor scientiae musicae. On behalf of the Hamburg State Opera, he or she will compose a full-length chamber opera in parallel, which will be premiered in the spring of 2021 at the opera stable.

Applications can be submitted to the Claussen Simon Foundation by May 25, 2018.
Prerequisites for the application are a completed master's program as well as proof of a qualification for scientific or artistic research work, which also entitles to a doctorate, as well as German language proficiency DAF, at least level B1. The scholarship holder should demonstrate outstanding skills in contemporary music theater production, have an above-average level of reflection and are particularly interested in a doctorate. The maximum age for applicants is 35 years. Further information can be found in the invitation to tender.

 Wettbewerb SCORE
Summary:Film Music Competition
Deadline: 15 June 2018
Date Posted: 19 April 2018

Die Rheingauer Film-Symphoniker heben die Förderung junger Komponisten auf ein neues Niveau! Nach erfolgreicher Teilnahme an der Crowdfunding-Initiative "kulturMut" der Aventis Foundation und des Kulturfonds RheinMain wird im April 2018 SCORE - der Kompositionswettbewerb für Filmmusik - aus der Taufe gehoben.

SCORE richtet sich an junge Komponisten mit Interesse an symphonischer Filmmusik. Für den Wettbewerb soll Musik zu einem vorgegebenen Kurzfilm geschrieben werden. Eine hochkarätige Jury bewertet die eingereichten Konzepte / musikalischen Skizzen. Die Kompositionen der zwei Gewinner werden mit einem Preisgeld von 750 Euro ausgezeichnet und im April 2019 mit großem Symphonieorchester uraufgeführt. Die Komponisten werden dadurch einem größeren Publikum mit ihrer Arbeit bekannt.

Die Bewerbung für SCORE 2018 läuft bis 15. Juni 2018.


The Rheingau Film Symphony take the promotion of young composers to a new level! After successful participation in the crowdfunding initiative "kulturMut" of the Aventis Foundation and the Kulturfonds RheinMain, SCORE - the compositional competition for film music - will be launched in April 2018.

SCORE is aimed at young composers interested in symphonic film music. For the competition, music should be written for a given short film. A top-class jury evaluates the submitted concepts / musical sketches. The compositions of the two winners will be awarded with prize money of 750 euros and premiered in April 2019 with a large symphony orchestra. The composers thereby become known to a larger audience with their work.

The application for SCORE 2018 will run until 15 June 2018.

More info:

 New Music Fund
Summary:Funding Call for Applications
Deadline: 07 June 2018
Date Posted: 19 April 2018
Details: Created in 2004, the New Music Fund (formerly Fund for Contemporary Music) was initiated by FACE Foundation and the Cultural Services of the French Embassy to encourage new commissions, residencies, masterclasses, performances and tours involving contemporary composers, musicians and ensembles. Conceived in partnership with Institut français, French Ministry of Culture, SACEM and Florence Gould Foundation, the fund also fosters co-creations between French and American composers.

Since 2011, the fund has granted 800,000 dollars to more than 80 projects, including 15 commissions, 2 residencies and 8 tours in the United States, for more than 58 ensembles and a total of 200 concerts and recitals.

The program has supported the work of contemporary artists based both in France and in the United States, including prestigious commissions such as the ensemble Talea to Fabien Levy and Roman Lazkano, the Saint-Louis Orchestra to Philippe Manoury and major U.S. tours for ensembles Linea, Court-Circuit and Grame.

In 2018, FACE is conducting an evaluation of the fund since its inception. New strategies and guidelines will be defined for 2019. The program will also support U.S. professionals to travel to France upon decision of the steering committee.

New Music Fund awards grants up to $ 25,000 through an open, competitive application process for projects taking place either in France or the United States and/or their respective territories, involving French and American composers, musicians and ensembles.

The fund will prioritize new commissions, residencies, performances and tours involving new generations of composers and reflecting the cultural and artistic diversity of the French and American contemporary music scene. Special attention will be given to projects that have the capacity to reach new audiences and engage communities through public performances. Additional funding for projects involving women composers and musicians will be provided by Fondation CHANEL.

New Music Fund encourages applications for projects resulting in the creation of new works, such as new commissions and residencies. It also supports masterclasses, performances and tours of French artists and ensembles in the U.S., and American artists and ensembles in France.

— Projects must take place in France or the United States, and/or their respective territories, or in both countries between September 1, 2018 and August 30, 2019.
— Commissions and residencies may include arranging, composing, rehearsing, performing, and recording.
— Performances and tours must include at least 3 shows or public programs (masterclasses can be considered as well).
— Works presented must be composed by living composers.

Priority will be given to:

— Projects involving artists or living composers whose work has rarely been seen in the partner country;
— New commissions
— Projects presented in a minimum of 3 different cities;
— Projects involving new generations of composers;
— Projects involving women artists and/or composers;
— Projects reflecting the cultural and artistic diversity of the French and American music scene; - Projects experimenting new forms of music, including computer and electronic music.

The fund will not support:

— Individual artists directly;
— Ensembles or composers that have received support by FACE 3 times or more.


Grants can support up to 50% of the global budget of a project, and for an amount that cannot exceed $ 25,000. Funding may be used towards the following:

— Travel-related expenses (international airfare, domestic travel, accommodations, and per diem);
— Visa fees;
— Artist fees;
— Equipment and space rentals;
— Marketing;
— Production costs related to the artistic project only.

All individuals and ensembles must obtain the required travel documentation to legally enter the United States and France. If the proposed project involves a public performance in the United States or France, artists must follow immigration law and secure the necessary work visa prior to the performance.


New Music Fund offers financial support in the form of grants to American or French nonprofit organizations that present or produce the artists.

— American organizations must present a project by French or France-based artists or by artists from the francophone world; French organizations must present a project by American artists.
— American or French organizations must demonstrate their nonprofit status (501(c)3 or association loi 1901).
— The organization (presenter, festival, university) must show a clear financial and artistic commitment towards the project.
— For tours in the U.S., each presenting venue can apply individually.
— Companies and ensembles may submit applications for performances and tours only if they have written engagement from presenting partners.


 14th SUN RIVER PRIZE Students’ New Music Composition Competition Chengdu, P.R. China, 2018
Summary:Chamber Competition
Deadline: 08 October 2018
Date Posted: 19 April 2018
Details: ◆Sponsored by Sichuan Conservatory of Music
◆Organized by Composition Department of Sichuan Conservatory of Music
ISCM-Chengdu section
Research Institute of Composition Technique of Sichuan Conservatory of Music

◆Chairman of the Organizing Committee
Prof. Lin Ge’er
Composer, President of the Sichuan Conservatory of Music

◆Chairman of the Jury
Prof. Qin Wenchen
Composer, doctoral supervisor
Vice President of Central Conservatory of Music

The competition of this year is chamber music, and the establishment of music instruments to be selected of 1-9 instrumentalists combined willingly and the same instrument is not more than 4. (Without any electronic instrument, equipment and computer)
The composition should be under 12 minutes.

1. All students. (No limitation on nationalities, regions and ages).
2. The composition should be written any style and in last three years.
3. The composition must be unpublished, and must not have been awarded in any other contest prizes.
4. Each candidate is allowed to offer only one piece for the competition and should not enter for the competition with others' name.

◆How to enter
Candidates should fill out the entry form (enclosed) and offer the copies of the ID and the Student ID card, as well as 7 copies of the composition score.
The composition should be delivered by the registered letter to the Competition Committee before the deadline.
The score of the computer file (PDF format) should be sent via email to at same time.

◆Mailing Address
Committee of 14th SUN RIVER PRIZE Students' New Music Composition Competition
Research Institute of Composition Technique,
No.6 Xinsheng Road, Chengdu, 610021 Sichuan, P.R.China

◆ Contact
Mr. Gou Yong, Mr. Hao Yukai
Tel & Fax +86-28-8543 0253
Deadline: 08th October 2018
(Entries must be received before 08th October 2018)
we recommend the candidates to offer the CD record of the composition, but the audio files are not required.
All materials offered by the candidates (including scores and CD) will not be returned.

◆Award and Prizes
1st Prize (1): RMB ¥15,000 (pre-tax) and the certificate.
2nd Prize (2): RMB ¥10,000 (pre-tax) and the certificate.
3rd Prize (3): RMB ¥5,000 (pre-tax) and the certificate.
Honorable Mention (several): the certificate.

The juries have the rights to decide the prizes and the number of the vacant winners, and the jury's decision is final.

◆Additional Directions
1. During the selection of the competition, any prize-winning composition could be published and played permanently and freely by the sponsors.
2. Please do not write your name and any non-musical notes on the composition score, otherwise the candidates cannot enter for the selecting procedure.
3. The entry form is enclosed (copy is available), which should be posted after being filled out with the record and copies of the composition score.

 Call for Electronic Music: 1-4 channels of subwoofers
Summary:Music for subwoofers
Deadline: 01 July 2018
Date Posted: 19 April 2018
Details: April 18, 2018
Submitted by Matthew Fava on Wed, 04/18/2018 - 09:58

The Canadian Music Centre is collaborating with artist and organizer Matt Horrigan to present a concert of works for subwoofers. Composers of any age and nationality are invited to submit electronic music that has been created for subwoofers—1-4 channels of audio. Half of the program will consist of a new composition, Heavy Traffic, written for electric guitar and subwoofers which is about outside noise coming through the walls into private space. The other half of the program will be selected through this open call.

To be presented at: the Canadian Music Centre (Toronto) in mid August 2018 as part of a concert called Heavy Traffic: The Music of Intrusion. The exact date of concert will be determined.
Compensation: $200 CAN to each selected composer

• Pieces between 6 and 12 minutes in length preferred, though longer and shorter works will also be considered
• Previously composed works specifically for low electronic sound are welcome.

Deadline: July 1, 2018 (11:59 pm PST)

Selection: works will be selected by concert organizer Matt Horrigan in consultation with the Canadian Music Centre on the basis of complementarity with the rest of the program.

Aesthetic prescriptions: the audience will be seated and/or otherwise mostly stationary during the show and will lack the opportunity to dance, so pieces centred on thumping beats or otherwise intended for a dancing audience would probably not play as well at this concert as at other venues.

How to submit: Fill out the online form available here (this same form is embedded below)

Send questions to:
Looking forward to hearing from you!

 Community college invites entries for composition competition
Summary:Concert band or string orchestra
Deadline: 01 May 2018
Date Posted: 19 April 2018
Details: The composer of an original piece of music is set to receive a $1,000 prize in the Anoka-Ramsey Community College First Annual Composition Competition, now open for submission. In partnership with the Music Department, the Anoka-Ramsey Community College Art Committee invites all composers, regardless of age or country of origin, to compose a musical piece and compete for the award.

The competition guidelines call for entries that are of moderate difficulty, appropriate for fourth or fifth grade, and the composition should be three to five minutes in duration. Written for concert band or string orchestra, the suggested instrumentation includes: 1st and 2nd Flute (optional piccolo); Oboe; Bassoon; 1st, 2nd and 3rd Clarinet; Bass Clarinet; 1st and 2nd Alto Saxophone; Tenor Saxophone; Baritone Saxophone; 1st, 2nd & 3rd Trumpet; 1st, 2nd (optional 3rd and 4th) Horn; 1st, 2nd and 3rd Trombone; Euphonium (BC/TC ?); Tuba; Mallet Percussion; Timpani and Percussion (expanded*). Optional: Piano 1st & 2nd, Violins, Violas, Cellos, and String Basses.

Composers are encouraged to use expanded percussion, particularly mallet and accessory instruments. They should plan for at least five percussionists with expansion to six or seven percussionists preferred.

Competition entries should be submitted via email at Each entry should include five items:
• cover sheet with the composer’s name, mailing address, email address, school affiliation if they are a current student, birth date, and names of all files submitted, in Word or PDF format;
• one PDF of the full score;
• one PDF of the set of individual parts;
• a recording in .mp3 format (MIDI files from the composing software are acceptable); and
• program notes (separate from the score, and in Word or PDF format).

The First Annual Composition Competition is open to the public, and individuals of all ages may apply. The deadline to enter is May 1, 2018.

For more information about Music at Anoka-Ramsey Community College, visit

Summary:Competition featuring piano
Deadline: 20 May 2018
Date Posted: 19 April 2018
Details: The International FEURICH Competition for Piano, Vocal, Chamber Music, and Composition offers young artists from all over the world a platform from which to present their talents in the heart of Vienna - a city renowned the world over for its rich musical heritage. The competition provides an inspirational and communicative atmosphere perfect for making new contacts and networking. A stage where your musical personality can shine - the Feurich Competition offers a professional and fresh approach which will inspire performers and listeners alike.

Round 1: Registration deadline for the competition, including submission of video: May 20th 2018
Round 2: Performances in each age group: June 30th to July 2nd, 2018

Age: from 6 to 99

Age groups:

A: 6-9 years
B: 10-14 years
C: 15-19 years
D: 20+ years

I: Solo piano
II: Solo Instrumental (with piano accompaniment)
III: Solo Voice
IV: Chamber music with piano
V: Composition
VI: Special Category (Elena Cobb-Preis, contemporary music for solo piano)

In category V, compositions will be judged primarily on their creativity, expressiveness and individuality. Other factors include instrumentation, as well as correct and intelligible notation. For the first round, please send the scores for two pieces by email to: – a video is not necessary. The pieces can be played by you in person, but this is not a requirement. The piano must be featured as an instrument in the piece, either as the leading or the accompanying instrument.


 5th International Composition Competition of the City of Homburg / Saar
Summary:Composition for choir
Deadline: 01 September 2018
Date Posted: 19 April 2018
Details: The Homburg Symphony Orchestra is proud to announce the 5th International Competition for Composers organized in cooperation with the City of Homburg.

The theme for this competition is „Psalm 39“. The composition should be a work for mixed choir (S,A,T,B / 8 voices maximum) and symphonic orchestra. As for the lyrics, the following text, from psalm 39 (5-8) is to be used:

Herr, lehre doch mich,
daß ein Ende mit mir haben muß. Und mein Leben ein Ziel hat,
und ich davon muß.
Siehe, meine Tage sind
einer Hand breit vor Dir,
und mein Leben ist wie nichts vor Dir.

The lyrics should be in German.

Participation: Only work by composers born after January 1st 1983
is eligible to be accepted for the competition. Submissions must be unpublished work. The level of difficulty should be consistent with the expectations of a highly ambitious amateur orchestra and choir.

Duration: 5-7 minutes

The submission should include one full score of the composition in print, one copy of the score in digital form (pdf) and all instrumental parts in digital form (pdf) either on CD or USB.

In order to participate it is important to carefully hide the name of the composer on the orchestral scores and the orchestral material (in both digital and paper form). Instead it is required to mark all the material with the same code.

The code should also appear on an additional separate envelope in which the candidate should provide the following information and documents:

• Name, address, phone number, and email address
• curriculum vitae
• a recent photograph
• a written statement which confirms that the submitted work is the candidate’s own original creation, has not yet been published else- where and that he/she gives permission to the Homburg Symphonic Orchestra to perform and disseminate the work.

Awards: The jury will award 3 prizes. These allow laureates to work on their composition together with members of the jury and the con- ductor. In preparation for the concert, laureates will also have the opportunity to attend rehearsals, work with the orchestra and make corrections or changes to their composition, if needed. A first series of rehearsals is planned on October 13th and 14th in the Thomas Morus Haus, Schleburgstr. 17, 66424 Homburg – Erbach.

Costs for travel and accommodation will be reimbursed.


Summary:String Quartet Competition
Deadline: 15 August 2018
Date Posted: 12 April 2018

We announce the IV edition of “FLORENCE STRING QUARTET CALL FOR SCORES”, an event promoted by Associazione Artes in cooperation with Studiomusica Hungary Interational Artists Agency.

The event wants to offer to international composers an opportunity to compare themselves and to meet composers with different background and aesthetics. The final aim of the call for scores is to promote the knowledge and the diffusion of today’s music through the performance and the publication of the selected scores.

1. The Call for Scores is structured in two stages: ELIMINATORY and FINAL

An international jury composed by
M° Andrea Portera (Italy);
M° Xiao Hu (China);
M° Rita Ueda (Canada);
M° Andreas Lucas Beraldo (Switzerland);
will choose n° 4 (four) scores that will be performed in the final stage of the call for scores in a public performance;

2. FINAL STAGE: the final phase will consist in a public concert that will be held on Saturday September 22 2018 in the Teatro di Cestello in Florence;

The four selected scores will be published by Impronta Edition Mannheim;

The concert will be recorded and published by Centro di Musica Contemporanea Milan in “XXI Century Archives” series.

The jury of the final stage is composed by:
M° Marco Tutino (Italy, President of the jury);
M° Péter Mező (Accord Quartet, Hungary);
M° Massimo Polidori (Quartetto d’archi della Scala, Italy)
M° Andrea Portera (Scuola di Musica di Fiesole, Italy);
M° Jan Miłosz Zarzycki (Witold Lutoslawsky Chamber Philarmonic, Poland);

The jury will assign the following prizes:
• Performance of one piece (new commission or already existing piece) during the next season of Witold Lutosławski Chamber Philharmonic in Łomża (Poland);
• Performance of one piece (new commission or already existing piece) during the next season of La Scala Quartet (Milan);
• Performance of one piece (new commission or already existing piece) during the next season of Accord Quartett (Budapest);
3. The call for score is opened to all composers, without nationality or age limitations;
4. The scores must be written for string quartet (2 violins, viola, cello) and must have a duration between 5 and 15 minutes;
5. The scores must be unpublished until the day of the concert. The pieces can nonetheless have been performed before if not published;
6. Each participant can send at most 3 scores. The application fee is €75,00 for the first score and €25,00 for each of the others;
7. The scores must be anonymous, without any identity sign, but they will be marked with a “motto”, that will allow to identify the composer;

The scores must be sent by e-mail to the address:, object “STRING QUARTET 2018”, attaching scores in PDF or JPG format (max 10 mb). The files must be named with the same motto marked in the scores. As body of the e-mail the participant will indicate name, surname, motto, title and duration of the scores, contacts (address, mobile, …). The organization will guarantee the anonymity of participants;

The payment can be sent through Bank Transfer or Paypal (in this case plus 5% commission fee).


Summary:Chamber competition with voice
Deadline: 20 July 2018
Date Posted: 12 April 2018
Details: Carlo Sanvitale, former president of the Association, passed away on 2013.
The –Associazione Amici Della Musica “Guido Albanese”– invites composers of all ages and nationalities to participate in the 1st “Carlo Sanvitale” Composition Competition. The composition should be challenging, but at the same time accessible and playable by young talented players.

The goals of the contest are:
• To offer young composers the possibility to have their works performed live
• The possibility to acquire experience with a chamber ensemble (Complesso da Camera “Carlo Sanvitale”).

The Competition is open to composers and students of all ages and nationalities. The submitted works must satisfy the following criteria:
• Orchestration (max.): 2 violins, viola, cello, piano, tenor or soprano. Works whose instrumentation includes other instruments will not be taken into account for the competition;
• The length of the composition must be between 3 and 10 minutes;
• All complementary documents (music, bio sketch, program notes) have to be submitted to the jury along with the score;
• Scores have to be sent in PDF format to The submission is not deemed successful until a confirmation e-mail has been sent;
• The composition has to be original and never performed before;
• The composer renounces to execution rights for the performance by the Complesso da Camera “Carlo Sanvitale”;
• The difficulty level of the composition has to correspond to the skills of an advanced amateur chamber ensemble with a conductor;
• Each candidate may submit one composition per year. The same composition can be submitted at most over two non-consequent years.

Shall the composition be selected as winner, the composer has to provide to the secretary of the competition the separated parts by July 30, 2018. Tempo, dynamics, articulation and rehearsal letters for the different instruments must be indicated on both the main score and the separated parts. The winner must agree to the following:

• The selected work will be performed and recorded by Complesso da Camera “Carlo Sanvitale” during the Music Day, that will be held on August 12 and 13 in Ortona, Italy.
• The author of the winning work can participate in the rehearsals and the concert that will be held in Istituto Nazionale Tostiano, Ortona, Italy, on August 12. Travel fees will not be refunded. Accommodation will be provided by the Association.
• The author of the selected work has to provide a short description of their work; this will be included in the concert program.
• The author of the selected work agrees to transfer the parts to the performers.


The author of the winning competition will receive a prize of 150 Euros + the commission for a work for orchestra to be performed in January 2019. Composers classified first, second and third will receive a Diploma. The winning composition, together with no more than three other compositions, will be recorded during the Music Day.

All living composers are eligible. The submissions will be received by the Associazione “Amici Della Musica”, made anonymous and then presented to the jury. Deadline for submissions is July 20, 2018. The results will be announced on July 25th, 2018. The jury’s decision is non-contestable and all decisions are final. The premiere of the selected piece will take place in August 12th, 2018 in Ortona (I).

If you want to participate, please send us the following:
• One digitized anonymous copy of the score (PDF) (also digital copy of manuscripts are accepted);
• A computer-generated recording (if possible)
• A copy of a bank transfer for the amount of 30 Euros to “Amici Della Musica Guido Albanese” IBAN: IT83R0605077780CC0520081776 SWIFT: CRPCIT3J Subject: “Iscrizione 2018”

Communication will be held in Italian, English or French. The Italian version of this call for submissions should be considered definitive. Translations are without guarantee.

• Mykolas Natalevicius, Lietu The “Castello Aragonese” in Ortona

vos Kompozitorių Sąjunga (LT)
• Simone Di Felice, Kappelmeister dell’Opera di Francoforte (D)
• Levente Török, Kapellmeister del Teatro di Regensburg (D)
• 3 Performers belonging to Complesso da Camera “Carlo Sanvitale” will be selected on June 2018.

 Alvarez Chamber Orchestra 'Voice your opinion'
Summary:Compose an original vocal work of any duration and scale
Deadline: 15 September 2018
Date Posted: 12 April 2018
Details: 9th Annual Composition Competition:
Compose an original vocal work
of any duration and scale,
from a solo sung piece to chamber orchestra* with voices.
First prize - £1000
Mullord Award - £500
Closing Date 15th September 2018

For the ninth year running, the Álvarez Chamber Orchestra (ÁCO) is inviting composers of any age and nationality to submit works for an annual composition competition.
• There is no specification as to the length or nature of the work apart from the inclusion of a vocal element.
• The voice part may be a setting of any text or pure vocalisations: an English translation should be provided for any non-English text.
• If electronics are used, if not notated conventionally and fully in the score, a CD or mp3 should be supplied.
• A recording of the work should also be submitted if the score is notated graphically or in any other unconventional format.
• There is no restriction on the number of works submitted by each composer but each piece will incur the same entry fee of £26.
• The work may be a new piece or may have been written at any time in the composer’s career.
• Scores may be submitted electronically as pdf files to the address of competition administrator Trevor Huntley:

• Each piece should have only its title displayed on the cover. The identity of the composer, including address, email, phone number, biography, photograph and programme notes should be placed in a separate email marked with the same title and sent to the same address.
• Scores may also be submitted as hard copies which should be sent to the ACO company address:
5 Rensburg Road London E17 7HL
• In addition to the two awards mentioned above, there is the prospect of a performance by the Álvarez Chamber Orchestra at a future season.
• The deadline for posted entries is 15th, 2018 September - posted scores arriving after that date will be accepted if postmarked with the closing date.
• Composers submitting their scores via a link on a file sharing site such as Dropbox should ensure the files remain uploaded until adjudication has been completed.
• All entries that the ACO receives will be acknowledged prior to adjudication. Composers will be notified if any files of an electronic submission are corrupt or missing. It is the responsibility of the composer to provide the ACO with pdf files that can be opened. If the composer is unable to supply the requested downloadable and readable files within the time limits detailed above, the entry will be deemed disqualified.
• Entries should not contain a pseudonym; all entries will be allocated a unique reference number by the ACO competition administrator to ensure the composer's identity remains unknown. Identities will only be revealed to the adjudicators once their final decision has been made.
• Please contact Trevor Huntley if further clarification is needed.
• The maximum* size of the orchestra is as follows:

2 flutes (2nd doubling piccolo)
2 oboes (2nd doubling cor anglais)
2 clarinets (2nd doubling bass clarinet)
2 bassoons (2nd doublng contrabassoon)
2 horns
timpani (doubling second percussionist)
percussion (one player)
any keyboard
6 violins
2 violas
2 cellos
1 double bass.

• The vocal component can range from a solo voice
to a chamber choir of mixed or single-sex voices.
• Minimum specification is a single voice.

The entry fee is £26 per work. Payments may be made via Paypal by clicking below


 International Summer Academy of Music
Summary:Summer Course and Composition Competition
Deadline: None
Date Posted: 12 April 2018
Details: MUSIC COMPOSITION masterclasses will be taught interchangeably by Prof. Ofer Ben-Amots (Colorado College, USA) and Prof. Jan Jirasek (Prague, Czech Republic)

Students can bring with them any current project they would like to develop or complete. Additionaly, all students will have an opportunity to participate in the chamber composition contest and will be able to work with professional performers during the second week. Participating compositions will be performed in an open concert during the competition on the second Thursday. The composer's matinee with all compositions will be recorded.


All ISAM participating composers are invited to partake in an international competition annually. This competition is intended to increase the excitement, energy, and creativity among our hand-picked young and talented composers, while at the same time generate a harvest of new, beautiful, and highly artistic works. The competition carries the name and blessed memory of ISAM co-founder, composer, pianist, musicologist, teacher, and visionary leader, professor Joseph Dorfman (1940-2006.). Winning compositions will be repeated at the Gala Concert and prize giving ceremony. EVery year the composers are give a theme or motives by another another composer of whom we celebrate a significant anniversiry. In 2017 we celebrated the 100th anniversary of Darius Milhaud with themea typical of his musical language. In 2018 the themes will be taken out of Claude Debussy's music in commemoration of the 100th anniversiry of his untimely death in 1918. Find the themes here

For more information click here:

Deadline: 30 April 2018
Date Posted: 12 April 2018
From the 2018 edition the FBAS aims to stimulate the contact between young baroque ensembles and the new voices in the contamporary scene in order to explore new and unpredictable paths and connections between past, contemporary and future languages.

The selection criterias will be: the originality and identity of the language, the ability to explore the connections with the ancient languages and trace new paths based on identifiable parameters, the capacity both to dialogue with the needs of a new public and to project forward with an experimentation spirit.

The selected composers will collaborate with one of the ensembles of the NEWTRACKS@FBAS ensembles selection that will perform his work in one or more concerts in the FRINGE SERIES of the main program of the FBAS 2018.

One composer will collaborate with the Stradella Y(oung)-Project with a work releted with the 2018 production, the oratorio Santa Editta, vergine e monaca regina d’Inghilterra, that will be performed in the 8 concerts of the tournée.

Fill the FORM before April 30th

 VOICES 21C – First Annual Call for Scores
Summary:Choral Competition
Deadline: 21 July 2018
Date Posted: 12 April 2018
Details: Deadline: July 21st 2018

Our mission:
VOICES 21C is a Boston-based chamber choir who seeks to combine high technical proficiency with creativity and compassion. The choir creates personal meaning in performance by connecting their musical messages to social justice issues in the USA and abroad, representing the voices of the silenced, the forgotten, and the marginalized. VOICES 21C Is a welcoming space for LGBTQ, committed to contemporary composers, and improvisational, interdisciplinary modes of performance through their co- creating, egalitarian leadership model.

Coming up on our 4th year, we want to reach out to composers outside of our own circle. We are a group of 20+ teachers, composers, and conductors looking to establish connections with composers and refine the 21st Century components of our voice.

For those Chosen:
Winners of our 2018 Call for Scores will receive a live performance recording and a spot in our 2019 season, including our performance at the renown 2019 Choralies festival in Vaison-la-Romaine, France! Composers are also offered a chance to come workshop their piece at a live rehearsal in 2019. (V21C is not able to cover any travel expenses for this opportunity).

What we are looking for:
-Unaccompanied SATB (divisi conscious that we are +-6 on a part)
-Pieces that align with our group mission (note: we are not an overtly political or protest-based organization)
-Preferably pieces able to show, more than instruct/tell our audience about their messages
-Music that could cater well to elements that VOICES 21C showcases in performance:
-Group movement in performance
-Concert programs presenting a constructed narrative
-Improvisation on the individual and collective level
-Potential for an added instrumental solo - please consult with Michael from our leadership team at in order to explore instrumental capabilities, as these options are based upon our roster for the season.

Submission Fee:
Our $20 submission fee goes directly towards defraying the cost of this season’s expenses for our singers. As a non-profit organization, our singers are not compensated for our work in VOICES 21C, which includes purchasing airfare for our season’s performances, performance preparation, and all that goes into planning each year of our existence. Your submission fee is tax deductible, and greatly appreciated as part of our 2018 fundraising efforts. Composers are encouraged to send as many pieces as they like, while filling out our form and submitting separate payment for each entry. (Ex: 2 submissions - $40, etc).

Please go to to make your submission by July 21st, 2018. Results will be announced via our monthly newsletter in December 2018!

 International Clarinet Association
Summary:Clarinet with string quartet competition
Deadline: 20 December 2018
Date Posted: 12 April 2018
Details: The ICA seeks previously unperformed works for clarinet and string quartet (2 violins, viola and cello), 10-15 min. in length. The deadline is December 20, 2018; the winner will receive a $1000 prize and a performance of the work at ClarinetFest® 2019.

For details, please contact Antonio Faioli, coordinator.

2019 Composition Competition–Clarinet and String Quartet (2 violins, viola and cello)

Antonio Fraioli, Coordinator Email:

Eligibility: The competition is open to composers, clarinetists, and musicians who desire to further the repertoire of clarinet and string quartet with an original composition.


1. Items must be received by December 20, 2018.

2. Applicants should email the Competition Coordinator, Antonio Fraioli and ask for a Dropbox “File Request” link. Upon receipt of this link, applicant will upload related files

3. The subject line for all email communication should read “ICA Composition Competition” followed by the applicant’s full name.

4. Scores must be submitted electronically (PDF only) WITHOUT the applicant’s name or any identifying information on the score or in the filename. Scores must be submitted to the “File Request” Dropbox link obtained from the coordinator in item 2.

5. In a separate PDF document, include contact information (name, address, phone, website, and email), a short bio (100 words or less) and name of submitted work(s). Include the applicant’s name in document filename. (this information will not be viewed by the jury).

6. A midi recording in .mp3 format or a clarinet and string quartet recording in .mp3 format must be submitted.

Contest Rules

Application fee: $25 US. Make amount payable to the “International Clarinet Association” in U.S. currency by bank check, money order, or credit card only. If paying by credit card, please use the credit card payment form. PayPal is also accepted to The application fee is non-refundable.
The 2019 Composition Competition call is for a work 10-15 minutes in length, scored for clarinet and string quartet (2 violins, viola and cello). The submitted work must have no prior performances.

A committee having no knowledge of the applicant will conduct the judging of scores and parts. Do not include any identification on the scores and on the .mp3 realization. The winner will be notified via email by February 15, 2019. The winning composition will receive a world premiere performance during ClarinetFest® 2019, July 24-28, 2019, in Knoxville, Tennessee. Travel expenses will be the responsibility of the winner. Free registration at ClarinetFest® 2019 will be provided. If the winner is a clarinetist, he/she must be a member of the I.C.A. Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. The ICA will provide the clarinetist for the premiere performance.

All scores and parts will become the property of the ICA Research Center at the University of Maryland Performing Arts Library and will not be returned.

$1,000 Prize

The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.


 La Sociedad Internacional por la Música Chilena
Summary:Competition for Chilean Composers
Deadline: 30 April 2018
Date Posted: 12 April 2018
Details: La Sociedad Internacional por la Música Chilena (SIMUC), siguiendo su objetivo de promoción internacional de la música chilena, invita a compositores y artistas sonoros chilenos o residentes en Chile a proponer una obra de su autoría para ser programada durante la tercera temporada de MEC, podcast dedicado exclusivamente a la música electrónica chilena, una iniciativa de la SIMUC.

1. MEC
1. a) Las obras seleccionadas serán programadas este año en la tercera temporada de MEC, la cual tendrá 10 capítulos publicados sucesivamente. Como es usual, estos serán programados y presentados por diferentes exponentes de la escena musical chilena. Agradecemos al Consejo Nacional de la Cultura y las Artes del Gobierno de Chile por el co-financiamiento de esta temporada.
2. b) Por música electrónica entendemos música concebida para ser presentada electrónicamente, pudiendo ser en base a elementos producidos electrónica o acústicamente. Esto incluye, por ejemplo, música acusmática, electroacústica y mixta, música con electrónica en tiempo real, música producida por instrumentos electrónicos o computador y música basada en síntesis de audio.

2. Obra
1. a) La obra debe ser de música electrónica según el punto 1. b de esta convocatoria.
2. b) La duración máxima es de 30 minutos, pero tendrán preferencia las obras de menor
duración, para permitir un mayor número de obras programadas.

3. Requisitos
1. a) Ser chileno o vivir en Chile.
2. b) Membresía SIMUC vigente (Más información sobre cómo hacerse miembro en

4. Selección
1. a) La selección será realizada por un comité conformado por programadores de MEC de temporadas anteriores, un músico chileno invitado y representantes de la SIMUC.
2. b) Un objetivo del comité será seleccionar obras de variadas propuestas estéticas. Será relevante también la calidad técnica (audio) de la obra.

5. Fechas
1. a) Se recibirán propuestas hasta el domingo 20 de mayo 2018.
2. b) Se informará sobre la selección directamente por correo electrónico a todos los
participantes el viernes 25 de mayo 2018.

6. Método
a) Utilizar la siguiente plataforma de postulación:

Deadline: 02 May 2018
Date Posted: 12 April 2018
Details: RULES

The biennial competition for acousmatic composition Métamorphoses is organised by Musiques & Recherches with the support of the Wallonia-Brussels Federation. It is open to any acousmatic composition that has never won an award or has been the object of a published recording. Candidates who fail to acknowledge this disposition will be excluded from this competition.

The Métamorphoses competition includes two categories :
- category A, for composers aged 28 or less in 2018, or students in electroacoustic composition (with proof of their occupation). There is no registration fee for the category A.
- category B, for any composer wishing to take part in this category, aged 50 or less in 2018. Registration fees for the category B are €20 per composer

The competition shall be divided into two parts:
1. The pre-selection jury members receive all the pieces and listen to them. They gather afterwards in late June 2018 to listen to the best pieces and to choose the works from category B that will be shortlisted for the October 2018 finals and edited in stereo on CD format.
The jury also elects the winner of the category A, whose work will also be the object of a CD publication.
2. During the finals of the Métamorphoses competition for acousmatic composition, M&R shall choose a performer for the spatialization of the pieces selected for the finals.
The finals will take place on October 24th, 2018. At this occasion, the finals jury – which may be different from the pre-selection jury – shall determine the final ranking of the pieces and announce the prizes.

Prize for category A
1st Prize: Publication of the piece on CD, performance of the piece during the October 24th concert, and 10 copies of the CD.

Prizes for category B
1st Prize : €2000.
2nd Prize : €500.
Public Prize : €500.
Possible M&R Prize: a residency at the "Métamorphoses d'Orphée" composition studio.

Acousmatic: Pre-recorded work composed in studio, projected on loudspeakers in concert, without any intervention of other live sound sources.

NB : In case of inconsistencies with the French version, the French version prevails.
1. To be authorized to take part to the composition, every composer shall, by May 2, 2018, before 13:00,

Brussels time:
- be registered on the site, have filled the registration forms and, for category B, have paid the registration fees.
- have send their works and the requested documents according to the guidelines described in section B.

If one of these provisions is not complied with, the registration will be deemed invalid.
2. The competition is open to any acousmatic work according to the definition given above. It is an international competition.
3. Winners of the First Prize or the Public Prize in category B in the 2016 edition cannot apply in the 2018 edition.
4. Only one piece per composer may be presented, with a duration exclusively comprised between 8 and 16 minutes. It will be presented in one of the two following categories:

Category A: exclusively concerns acousmatic works by students in electro-acoustic composition (with proof of their occupation) or composers aged 28 or less in 2018. There is no registration fee for category A.
Catégorie B: concerns any acousmatic work by composers aged 50 and less in 2018. Registration fees for category B is €20.

5. The works may be presented in two formats: stereo or multi-track (3 to 8 tracks).
6. In order for the registration to be validated, candidates must send a zipped folder through a service such as The folder will bear the exacte same title as the piece and shall be sent to the address by May 2, 2018 before 13:00, Brussels time.

It shall include:

For stereophonic pieces :
- an anonymous audio file bearing the exact same title as the piece, as indicated on the weezevent registration site
- the file shall be saved in 24bit/48kHz or 24bit/96kHz .wav or .aiff stereo format.

For multi-track pieces : an anonymous folder bearing the exact same title as the piece as indicated on the weezevent registration site. The folder shall include:
- each separated track anonymously named after the piece title in 24bit/48kHz or 24bit/96kHz
.wav or .aiff mono format

- a file anonymously named after the piece title including a speaker position and track assignment plan. - a 16bit/44kHz stereo reduction of the piece for an eventual CD-format edition of the finalist works

In addition, for stereophonic and multi-tracks works, the folder shall include:
- an official ID scan of the composer* - a student ID scan if necessary*
* This document will not be made available to the pre-selection jury

7. The presented work may have been performed live, but cannot have been part of any musical recording, nor can they have been awarded any prize before June 19th, 2018. The contestants pledge on their honour that this is not the case. If the work is awarded a prize or is the subject of a recorded publishing after the finalist selection is established, that is between June 20 and October 24, 2018, the contestant agrees to notice M&R by written form and to abandon the competition. Any failure to acknowledge this disposition will be penalised by a disqualification from the Métamorphoses competition.

8. The works shall be sent to the pre-selection jury members, who will listen to them integrally. The jury shall gather to select the winner of the category A, and the finalists for the category B. Multi-phonic pieces shall be listened to in a studio by the jury on a multichannel system. The category A winner and the category B finalists will be personally notified. The decisions delivered by the jury are final.

9. The category A recipient and the pre-selected category B finalist pieces will be published on the “Métamorphoses 2018” CD. Among the received pieces, the jury shall select a stereo work, as imposed by the spatialization competition that will take place during the “Influx – L’espace du son” festival in 2019. The jury reserves the right to include this piece on the CD.

10. The competition finals will take place on Wednesday, October 24th, 2018. Two listening sessions of the finalist works are planned, followed by a spatialized listening session on the M&R acousmonium (80 speakers/44 tracks) for a public performance. The performer of the finalist pieces will be appointed by M&R. The prizes will be awarded at the end of the concert.

11. The winners are committed to indicate the mention "Prix Métamorphoses 2018" in every programme that including their award-winning work.

Summary:Chamber/symphony orchestra call
Deadline: 31 May 2018
Date Posted: 12 April 2018
The “Basel Composition Competition” (BCC) is an international event held biennially in collaboration with the Paul Sacher Foundation in Basel to honour works for chamber and symphony orchestra. Following the success of the inaugural BCC in February 2017, a second competition is to be held from 20 to 24 February 2019 under the directorship of Jury President Michael Jarrell. The founding president Wolfgang Rihm will also be a member of the Jury.


The Competition is open to all composers, with no limitation as to age or nationality.

The BCC will consider new orchestral works which have never previously been performed, with the following instrumentation:

Chamber orchestra:
Woodwind: 2-2-2-2; Brass: 2-2-0-0; a maximum of two musicians for Timpani and Percussion; Strings: 6-6-4-4-2

The following woodwind instruments may be included (also as a secondary instrument): Flute, Piccolo, Alto Flute
Oboe, Cor Anglais
Clarinet, E Flat Clarinet, Bass Clarinet

Bassoon, Contrabassoon
A work composed solely for strings with the above string instrumentation is also acceptable.

A list of prohibited percussion instruments can be downloaded from the website

Symphony orchestra:
Woodwind: 3-3-3-3; Brass: 4-3-3-1; a maximum of three musicians for Timpani and Percussion; Harp (1), one musician for Celesta and Piano, Strings: 8-8-6-5-4

The following woodwind instruments may be included (no secondary instruments are permitted!): Flute, Piccolo
Oboe, Cor Anglais
Clarinet, Bass Clarinet

Bassoon, Contrabassoon
A list of permitted percussion instruments can be downloaded from the website

No instrumentation or instruments other than those specified will be deemed acceptable; this applies to both the chamber orchestra and the symphony orchestra instrumentation. Works must not exceed 20 minutes in duration.

Applicants must submit a registration fee of CHF 50.

• Filled in online application form

31 May 2018
, 31 August 2018
, 31 October 2018, 30 November 2018, 17 February 2019, 20 February 2019, 24 February 2019

Registration and payment deadline
Deadline for submission of the full score
Announcement of nominated works
Deadline for submission of the orchestral parts
Nominated composers travel to Basel, Switzerland (obligatory!) Start of the BCC
Final round of the BCC


 «Old Bridge» International Composition Prize
Summary:Brass Competition
Deadline: 01 May 2018
Date Posted: 12 April 2018
Details: Article 1 - Object
The ITALIAN BRASS NETWORK with the support of Italian Brass Week, hereby announces the First Edition of the «Old Bridge» International Composition Prize. The competition aims to stimulate composers to create music compositions suitable to performing in one of the most beautiful and unique scenery in the world: Florence, with its Arno river, on front of the Old Bridge.

Article 2 - Admission requirements and general performance details
The Competition is open to all composers regardless of ages or nationality. Candidates should submit to the jury a composition (urban symphony) for large brass orchestra, small drum section and separate brass ensembles, lasting between 15 and 25 minutes, which is freely inspired by the river, the bridge and the city. For the first edition, the Organization has decided to accompany the execution of the winning piece of the competition with a virtual installation with pictorial games of lights and lasers created by the contemporary painter SIM A FR A ( The composer should therefore freely be inspired by extra-musical themes such as water, gold and flowers, connotative elements of the city of Florence and subjects of the video installation by visual artist Simafra.

The organization counts for about 100 brass instruments available for execution, divided between trumpets, horns, euphonium , trombones and tubas formed by students and professors of the Master Classes of the Italian Brass Week. The number may change according to members of the master classes. The composer can divide the ensembles as he wishes, but he must take in consideration the following important points:

1) The performance’s location is at the Florence’s Old Bridge area is divided essentially in 3 zones: on the Right river side (zone number 1) usually for a large ensemble; on the 3 boats at the center of the river (zone number 2) with 3 small brass ensemble on board; on the Old Bidge (zone number 3), just Soloist or very small ensemble. (please see the picture below);
2) The 3 boats in the middle of the river on front of the Bridge, with 3 small brass ensemble on board, are obligatory. Basically you can have 3 brass quintets, one for each boat, or you can divide the brass ensemble in
obligatory. Basically you can have 3 brass quintets, one for each boat, or you can divide the brass ensemble in 3 parts : Trumpets 1 boat, Horns and Euphonium 2 boat, Trombones and Tubas 3 boat. Please consider no more than 5 musicians every boat and one only conductor on the central boat. The position of the three boats will be almost between zone 1 and zone 3 and will be absolutely motionless during the performance;
3) No more than 3 orchestra conductors in total. The winner piece will be conducted by Dale Clevenger and Roger Bobo. The eventual third director will be selected by the organization one month before the concert.
4) The orchestra will be formed by students and professors of the Master Classes of the Italian Brass Week. (please visit and

In accordance with the picture above, work should be thought for one of the following combinations: A) 1-2 (1- all orchestra / 2- brass ensemble* or quintets)
B) 1-2-3 (1 - all orchestra / 2- brass ensemble or quintets / 3- brass soloists)

Candidates must to consider that the performance will be in a large open space, with little background noise and little bit of echo especially if choose an a large disposition of the ensembles (point B above). The winner of the competition, if necessary, must submit an outline of the arrangement of the ensemble.

Criteria for judging are musicianship and suitability for performance.

Submitted works must be unpublished, must never have been performed in public or have received any award, whether under their current title or any other, and must not have been previously commissioned.

Transcriptions, arrangements, paraphrases or works which includes musical references to other works are not accepted.

Article 3 – Entries
The deadline for the submission of manuscripts is 1 May, 2018. Each participant may only present one

 PRYO Composition Contest
Summary:String Orchestra Competition
Deadline: 31 July 2018
Date Posted: 12 April 2018
Details: The Phinney Ridge Youth Orchestra is excited to announce the 2018 composition contest!

The purpose of the contest is to expand the literature for the high school level string orchestra and to encourage the creation of new music. The parts must be playable by good high school age musicians. One winner will be selected for a world-premiere concert during the 2018-2019 season.

The Phinney Ridge Youth Orchestra is a string orchestra for young artists in high school in the greater Seattle Area.


The composition contest is open to all composers regardless of age or nationality.
The composition must not have been performed publicly.

We are a small chamber orchestra so please do not write divisi parts.

Duration: 3-5 Minutes.
Important Dates:

July 31st, 2018 at 11:59pm PST: Deadline
August 2018: Winner announced
September 1st, 2018: Winner must provide all parts
December: Performance of the winning composition at St. Andrew's Episcopal Church.
Evaluation Criteria:

Scores will be evaluated based on the quality of the score, the playability of the parts, and on artistic merit. Any score that is illegible or too difficult will not be considered.

The PRYO reserves the right to change the date of performance due to programming consideration. By submitting a work competitors agree to these conditions of entry.
Submission Process:

Applicants should submit:
Pdf of the Score (Clearly Legible)
Mp3 (Midi Mockups are acceptable)
Program Notes
Brief Bio (200 words or less)

Submissions via email only to
Links to download are acceptable.

Submission Fee: $20

 BRUNO MADERNA International Composers’ Competition 3rd Edition: 2018
Summary:Works for ensemble (3–10 players)
Deadline: 15 June 2018
Date Posted: 05 April 2018
Details: City: Lviv (Ukraine)

Sponsored by : Lviv Philhamonic Society

Date: 14 to 18 July 2018

The International Composers’ Competition BRUNO MADERNA 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 italian composer of 20th century Bruno Maderna (1920-1973).

All composers who wish to participate into the International Composers’ Competition BRUNO MADERNA must write an original work with organic selected from three to ten instruments.

The 3rd International Composers’ Competition BRUNO MADERNA is open to all composers of any age and nationality.

The organization will select composers who will have the opportunity to participate into the International Composers’ Competition BRUNO MADERNA from 14 to 18 July 2018 in the city of Lviv (Ukraine), inside the Lviv Philhamonia.

The composers’ selected works will be performed in two final concerts 17 and 18 July inside the Concert Hall of Lviv Philharmonic Society.

The concerts will be recorded by a sound engineer with the selected works. A movie director will make a video of the concert.

BRUNO MADERNA International Composers’ Competition 2018 | Participant Info

The International Music Composers’ Forum BRUNO MADERNA COMPETITION 2018 will take place from 14 to 18 July 2018 in Lviv (Ukraine) – Address: Tchaikovsky str. 7 (Lviv Philarmonic).

Each composer must submit – deadline: 15 June 2018 – a music score choosen in the following instruments:

the organic selected from 3 to 10 players is : 1 piano, 2 violins, 1 viola, 1 cello, 1 contrabass, 1 flute (in Do, Sol, piccolo), 1 clarinet (Si bem, bass clarinet), 2 percussionists ( timpani, vibraphone, xylophone, bass drum, cymbals, tubular bells, wood blocks, gong).

The work must not exceed 12 minutes.

All score will be sent by email (only one work for composer), in PDF format, at

Each email sent to submit a score shall include:

– the score, from 3 to 10 players, must be in A4 format, indicating the duration, as PDF file (Sibelius or Finale program);
– a second PDF-file containing the identity of the composer (name and address, nationality, telephone number, email, website, short CV) and a statement by the composer stating that the submitted work has never before been published, performed in public and/or broadcast before, nor prized in any composer’s competition. Other file format than PDF are not acceptable and will result in the submission being rejected! There is no registration form.

The Composition Staff will select composers, from all the application submitted, no later 17 June 2018.

Each composer selected for the International Music Composers’ Competition 2017 will be notified by email and must send the instrumental parts no later then 20 June 2017.

Three prizes will be awarded.
1 Prize – 700 USD, and the score published by Aldebaran Editions
2 Prize – score edited by Aldebaran Editions
3 Prize – score edited by Aldebaran Editions

The Composition Staff reserves the right not to award the prize and to award Special Mentions of merit.

Summary:Violin, cello and string orchestra
Deadline: 18 May 2018
Date Posted: 05 April 2018

1. The Organizer of the Competition is the Orchestra of the Royal Capital City of Krakow Sinfonietta Cracovia.

2. Competition is aimed to promote young composers and to broaden the repertoire for string orchestra.

3. The subject of the Competition is an original piece entitled Sinfonietta concertante per Sinfonietta created for a solo violin, solo cello and string orchestra (max. ensemble formation: 5-4-3-3-1). Duration of the piece must from 7 to 12 minutes.

4. The submitted composition can be sub-titled.

5. Entry into the Competition is open to all composers under 40 years of age.

6. The submitted composition must be an original composition that has not been yet performed, awarded or published.

7. Each participant can submit no more than two compositions.

8. To enter the Composition Entrants must anonymously submit in a sealed envelope marked with an emblem consisting of words or digits:

three copies of each composition (including the materials – parts),
a CD containing the electronic transposition of the score (PDF format) and the
audio simulation of the composition’s sound represenation.

9. Each entry must also include a secondary sealed envelope bearing the same emblem, containing the Entrant’s personal data and a signed statement based on the Application Firm enclosed as an Attachment to the following Terms and Conditions. The above mentioned Application Form can be downloaded directly from the Organizer’s website:

10. The Organizer reserves the right to use the scores and parts of the awarded compositions free of charge and to record the performances of the awarded composition and those given the honorary mentions for archival, documentary and promotional purposes in accordance with the rules specified in the Application Form.

11. All entry materials must be submitted by 18 May 2018 (date of dispatch constituted by the postmark or the date of the registered post’a deposit slip) to the following address:

Orkiestra Stołecznego Królewskiego Miasta Krakowa Sinfonietta Cracovia
ul. Papiernicza 231-221 Kraków
with additional information: International Composition Competition „Sinfonietta per Sinfonietta”

12. The Competition’s Jury consists of recognized experts in the field of composition:

Joanna Wnuk-Nazarowa,
René Staar,
Eugeniusz Knapik,
Jerzy Kornowicz,
Marcel Chyrzyński,
Jurek Dybał,
Adam Wesołowski.

13. Information about the winners and prize-awarded compositions will be published at the Organizer’s website: no later than 15 June, 2018.

14. The Competition’s Prize consists of the premiere performance of the winning composition Sinfonietta per Sinfonietta at the Sinfonietta Festival at Krakow including its professional video recording and other performances of the piece during the 2018/2019 concert season.

15. All prizes, including the possible honourable mentions and special commendations will be awarded at the discretion of the Jury.

16. The decisions of the Jury are independent, final and irrevocable.

17. All awarded scores will become the property of the Organizer. All materials related to the non-winning pieces (scores and parts) can be collected at the Organizer’s office no later than end of the 29 September 2018.

18. The winners of the Competition are obliged to include the full name of the awarded composition and information about the circumstances of its creation in future published editions of the piece’s score and other compilations which may refer to the composition (e.g. Wikipedia pages): Composition created for the International Composition Competition Sinfonietta per Sinfonietta held dunder the honorary patronage of prof. Krzysztof Penderecki and organized by the Orchestra of the Royal Capital City of Krakow Sinfonietta Cracovia.

19. By submitting an entry to the Competition the Entrant unequivocally agrees to the Competition’s Terms and Conditions.

20. The Organizer reserves the right to introduce changes to the Competition’s Terms and Conditions and its schedule or to cancel the Competition due to the exceptional occurrences going beyond their control or to force majeure.

 2018 Jinji Lake International Composition Competition
Summary:Orchestra (with or without soloist)
Deadline: 30 September 2018
Date Posted: 05 April 2018
Details: Works should be written for orchestra, or for a solo instrument (both Chinese traditional or Western instrument) and orchestra with instrumentation no larger than 3333 – 4331 – Timp+3 – Hp – Str.
The duration of the work must be between 8 and 12 minutes.
Composers of all age and all nationalities are eligible to enter the Competition.
There is no entry fee.
Submission deadline is September 30, 2018 at 17:00 Beijing time, for PDF via email and for bound hardcopies with postmark date.
All travel and accommodation expenses for the six finalists invited to Suzhou will be covered by the Suzhou Symphony Orchestra.

First Prize 100,000 RMB (equals 15,000 USD)
Second Prize 60,000 RMB (equals 9,500 USD)
Third Prize 30,000 RMB (equals 4,750 USD)
Honorable Mention 5,000 RMB (equals 800 USD)


November 30, 2018
19:30: Final Stage Concert at the Jinji Lake Concert Hall
21:00: Awards Ceremony at the Jinji Lake Concert Hall


Summary:Chamber call (at least 6 musicians)
Deadline: 30 June 2018
Date Posted: 05 April 2018
Details: The cultural and musical organization Syntax Ensemble is proud to announce a composition competition seeking submissions of new scores to be included in its repertoire. Syntax Ensemble will be awarding prizes for compositions most successfully conveying aesthetic clarity in addition to demonstrating command of instrumental writing and electronic programming skills highlighting the performers’ technical and expressive skills.

Art. 1. Eligibility
The competition is open to male and female composers of all nationalities, not yet 40 years old by November 30th 2018. It is also open to people belonging to no country: these will be asked to include a declaration of residence.

Art. 2. Submissions
The competition involves three steps.

Step 1
Participants are required to submit two scores for any instrumental group along with a recording of the piece (.wav, .aiff, .mp3, or aac les). Acousmatic pieces and videos will not be taken into consideration. Scores and recording les can only be identi ed by a pseudonym with no reference to performance location, institutions potentially commissioning these works or musicians involved in the recording. Scores submitted with CDs and commercial DVDs are also accepted and no speci c aesthetic orientation is privileged to the detriment of any other. Scores and recordings must be submitted with the documents outlined in art.10.
By the end of a plenary session, the Syntax Ensemble will have selected up to 30 scores for the following step in the contest.

Step 2
Selected scores will be handed over to a contest international committee including:
• composer Ivan Fedele;
• composer Gabriele Manca;
• composer Alessandro Solbiati;
• music promoter Gabriele Bonomo;
• musicologist Gianluigi Mattietti;
• art patron Ralph Fassey.
Submitted scores can only be identi ed by their pseudonym. The committee will be selecting up to ve candidates who will then proceed to the following step in the selection process. The nalist composers’ identity will not be disclosed to members of the committee.

Step 3
The ve composers admitted to phase 3 are the competition’s nalists. They will be asked to write a new piece following the rules outlined in art. 3 and 4. They are strictly forbidden to contact members of the committee for competition- related matters.
The Committee will notify Syntax Ensemble members of any interference: candidates involved in such interferences will no longer be considered for the competition. Committee members will clearly state whether they have any educational ties with the nalists. In addition, they will be required not to express any judgment about the compositions.
New pieces will be performed in a public concert which members of the Committee will be attending throughout the Syntax Ensemble music season. The candidates’ names will be displayed in public no earlier than the beginning of the concert evening.
After the concert, the committee will be withdrawing and proceed with deliberation before selecting the competition’s Winner.
Art. 3 Instrumental set-up for the final phase
The five nalists will be expected to write a new piece lasting between ten and fifteen minutes for an ensemble made up of at least six musicians, freely selected among the following:

• Female voice (extended from A3 up to Bb5);
• Flute (Piccolo, C Flute, Alto Flute, Bass Flute, Sliding Whistle);
• Clarinet (Clarinet in Eb, Clarinet in Bb, Clarinet in A, Bass Clarinet);
• Violin (acoustic and electric);
• Cello (acoustic and electric);
• Grand Piano (no upright piano);
• Percussion: Vibraphone, 1 tam tam, 1 triangle, 2 suspended cymbals, 2 temple blocks, 5 wooden blocks,
1 snare drum, 2 tom toms;
• Electronics (audio les and/or live electronics).

Electronics receive as much attention as musicians. Through performance of the same score, any one musician may be playing more than one instrument within the limits set in the above list.

Composers must clearly indicate whether or not a conductor is needed. Scores must be digitally typed with music notation software.

Contingent preparation for instruments is allowed within limits. In such circumstances, composers are required to provide a video demonstrating, within a 2-minute time frame, how to prepare each and every instrument with easily available material (amateur quality videos in .mov, .mp4, and .avi formats are accepted).

Musicians can also use such accessory tools as rattles, toys, triangles, small electro-acoustic devices. Candidates will then be asked to provide them if the ensemble runs into dif culties acquiring such material.

Art. 4. Electronics format
Electronics are allowed for pieces presented in the step 1 le as well as for the new pieces composed for the nal evening. With respect to the speci c use of electronics to be included in scores presented in step 1, composers simply make sure that recordings are included with the score. There is no need to send digital les. Further details on rules for programming electronics will be discussed and agreed upon with nalists by the end of phase 2 of the competition. “Low- ” electronics are also allowed. The ensemble ensures that all material prescribed within the score is made available; composers make sure it is delivered by post. While the bid is open, further explanations regarding capturing
and broadcasting devices may be requested.

Art. 5. Administrative contribution
Participants are required to pay for a 70€ administrative fee prior to the bid’s deadline. Payment can be made to the following bank account:

IBAN: IT45 F033 5901 6001 0000 0157 244

Composers from China, Russia and other countries with limited internet access or subject to restrictions in terms of payments abroad, can pay for their fees, tax included, via the PayPal account associated with the syntaxensemble@ email address. Contribution fees must be sent in euros.
Bitcoin or other crypto-currency payment is strictly forbidden.
Participants are asked to attach copies of bank transfer receipts.
Participation fees are non-refundable.

Art. 6 Attendance of selected nalists at the nal concert
Finalist composers are not required to attend the nal concert.
Participants must pay for travel and hotel expenses. The ensemble administration provides support for candidates requesting of cial invitation documents needed to help funding their trip.

Art. 7 Application submissions and announcement deadline
The participants’ les for Step 1 of the competition, along with the signed and completed application, must be submitted via web (dropbox link, wetransfer, google drive, ftp space, etc.) by June 30th 2018 at 11.59 pm to the coordinazione@ email address.
Files not complying with the rules will not be considered for the competition.
Composers must provide all digital, audio and video material needed for proper broadcasting within the time limits set by this bid. Selection results will be communicated by e-mail once the selection phase has reached its conclusion.

Art. 8 Competition calendar
Composer candidates will be asked to take note of the following deadlines:
• • •

Art. 9 Awards
Once the Committee has selected the ve pieces, these will be performed at a Syntax Ensemble concert in Milan’s Teatro Dal Verme.
The Committee will be assessing the ve nalist scores once the pieces are auditioned. At the end of the concert, the Committee will be announcing the competition’s Winner who will be entitled to a 2500€ reimbursement covering costs for a new composition for the Syntax Ensemble (though electronics are welcome, they are far from being compulsory). New scores must be submitted no later than December 2019. The piece will be performed sometime during the 2019/2020 Syntax Ensemble season. The Winner will be invited to attend the commissioned piece’s premiere performance.

Art. 10 Annexes and disclaimers
Files and completed application must also include:
• A copy of a valid Identity card (pdf);
• A copy of payment of the participation fee;
• A CV in .doc, .pages or .txt format (no more than 100 words);
• 1 portrait photo free of rights.
Art. 11 Further information
For any additional information, please write to:

June 30th 2018: application submission;

July 31st 2018: communication of participants selected for step 3;

January 31st 2019: submission of new compositions scores (electronic components included). The nal concert is scheduled for the 2018/2019 Syntax Ensemble Season no later than April 2019.

Art. 12 Final provisions
For any dispute, the present announcement would prevail in its original, Italian-language version and, according to Italian law, the issue will be submitted to the Court of Treviso’s exclusive jurisdiction.
As for other unforeseeable circumstances in this competition, provisions of the Italian Civil Code, as well as special laws of the eld in question, will be applied.
The Syntax Ensemble administration, in charge of this Composition Competition, reserves the possibility to bring changes to this bid.
The Syntax Ensemble Cultural Music Organization guarantees equality and equal opportunities between men and women in terms of access to the competition announcement pursuant to Legislative Decree n. 198/2006.

In compliance with the Italian Legislative Decree n. 196/2003, the processing of personal data provided by the participants is based on principles of correctness, lawfulness, transparency, and privacy protection - especially regarding the participants themselves.

All processing is done once les are received for the purpose of the young composers’ participation. All data is stored on computer and paper archives. Personal data will be available to holders of rights of access, according to the rules of law or regulation, whenever needed for performance purposes or institutional functions of public interest. Participants are acknowledged for rights such as they are referred to art. 7 of the Italian Legislative Decree n. 196/2003 as well as for rights to access personal data, to request recti cations, update and cancel data - especially if incomplete, inaccurate or collected with disregard for the law - and ultimately to refuse all processing for legitimate reasons.

The Syntax Ensemble cultural and musical organization is the holder and person responsible for processing. Competition rules and application forms are downloadable from

 Sir Peter Maxwell Davis Memorial Prize 2018
Summary:Chamber Call
Deadline: 01 June 2018
Date Posted: 05 April 2018
Details: The 2018 Canterbury Festival Competition is open to entries from all students, at any level of study, in Music programmes at CCCU. Compositions are invited for an ensemble of (or combination from):

Flutes (Piccolo, C flute and Alto): Heledd Francis Wright

Saxophones (Alto and Soprano): Sam Corkin

Viola: Martin Outram

Piano: David Knotts

Pieces of up to 10 minutes’ duration will be considered; shorter works are, of course, acceptable. It is unlikely that electronic elements can be included, but if this is very important to you please speak to Lauren about it.

The deadline for scores is Friday 1st June at 5pm. Please send your full (transposing) score to Lauren Redhead by this date and time. A shortlist of pieces will be drawn up for the concert, by a panel including Visiting Professor in Composition Paul Patterson and Professor Matt Wright.

Shortlisted compositions will be played by the professional players at the lunchtime concert in St Greg’s on Monday 29th October. On the day there will be a rehearsal/workshop from 10am-12pm to prepare. Selected composers must be available to attend both the rehearsal and the concert. The prize will be presented at the end of the concert by Rosie Turner, Director of the Canterbury Festival.

 International Opera Composition Course “Giacomo Puccini”
Summary:Opera Composing Course
Deadline: 20 May 2018
Date Posted: 05 April 2018
Details: International Opera Composition Course

Summer Seminar – Lucca, July 2nd to 14th, 2018

Come and study how to write opera in Lucca,
the city of Giacomo Puccini

The International Opera Composition Course ‘Giacomo Puccini’ is addressed to composers (both with or without an academic degree) willing to investigate thoroughly all compositional techniques in use in Opera writing today, focusing both on the Italian tradition and on the genre’s contemporary international developments.
The course’s aim is to hand down the great opera tradition, having as a target the creation of new operas, bridging the past and the future in a new and enthralling vision.

Participants will get to a deeper understanding of the various aspects of composing for Opera theatre.
– At the end of the course, each participant must submit a complete pre-project for a new chamber opera, writing a section of the full score for voice and piano (at least 20 minutes)
– The best projects will be selected to be performed as mise-en-scene at the ‘Cluster season 2019’ in collaboration with Teatro del Giglio of Lucca
– Remaining projects will be taken into consideration for future programming by the ‘International Chamber Opera Festival – WEC in 2019’
– All scores produced will be published by Edizioni Sconfinarte

Applicants must submit the following materials for selection:
– CV and list of works
– Project scheme of a chamber opera for max 1 voice and piano (reduction)
– Full score and audio file of an orchestral or chamber composition*
– Full score or voice/piano score and audio file of a vocal composition*
(*midi files can be accepted)

All materials must be e-mailed to
Submission deadline: May, 20th 2018
Eligible composers will be contacted by: May, 25th 2018

Knowledge of English or Italian language is required
A minimum of 4 eligible composers is required for the course to start

– 12 days of classes
– group and individual classes
– lectures by Guest Artists

Main subjects
– Opera composition: Girolamo Deraco

– Traditional operatic and contemporary singing: Maria Elena Romanazzi
– Opera: Vito Palumbo
– Graphic scores for opera: Luigi Esposito
– Analysis: Antonio Agostini
– The theatre as a music box: Aldo Tarabella
– Write a libretto: Debora Pioli

Opera composition: Girolamo Deraco
Individual classes
– Elements of instrumental composition
– Elements of vocal composition
– Elements of orchestration
– Elements of playwriting for the opera
Group classes
– Composition of operatic elements
- Musictheater (“opera” applied to instrumental writing, with or without voice)
– Musictheater, Chamber Opera, Opera elements of analysis. Musical perception

Lectures by Guest Artists
– ‘Traditional operatic and contemporary singing’ Maria Elena Romanazzi (Soprano)
– ‘Meet the composer’ Vito Palumbo (Composer, Professor of Composition at the Conservatory of Cosenza, Italy)
– ‘Graphic scores for opera’ Luigi Esposito (Composer, Visual artist, Sound designer, Performer/Pianist and Writer)
– Analysis of ‘Doktor Faustus of the composer Manzoni’ Antonio Agostini (Composer, Guitarist)
– ‘The Theatre as a music box’ Aldo Tarabella (Opera Director, Composer, Artistic Director of the Teatro del Giglio of Lucca)
– ‘Write a libretto’ Debora Pioli (Librettist, Writer)

VENUES (all venues are situated in the historical center of Lucca)
The course will take place at:
– Banca Del Monte di Lucca Foundation palace
– ‘Giacomo Puccini’ Foundation
– Teatro del Giglio

July 2nd to 14th 2018

Participants: € 1000
Auditors: € 250

Travel, accommodation and food are not included in costs.

‘Giacomo Puccini’ Foundation donates a scholarship to a composer to study opera in Lucca. The scholarship will be assigned after a selection by the committee of the course.

The course will include a free entrance at the Puccini Museum – Casa natale, Lucca (the house where Giacomo Puccini was born)

Lucca is an important music cultural and tourist destination. Very important composers were born in the city, such as: Giacomo Puccini, Luigi Boccherini, Alfredo Catalani and many others.
Lucca is easily accessible by train from international airports in Rome and Milan, or can be reached from regional airports in Pisa, Florence, with trains and busses connections.
Lucca is also close to many touristic places such as: Pisa (30 minutes), Florence (1.5 hours), Cinque Terre (2 hours), Siena (2.5 hours), Rome (3 hours), and Viareggio (30 minutes – the ‘beach’ of Lucca).

For further information (travel & lodging, classes and program details, food discounts…)
Cristina Rosamilia:


 Arts Letters & Numbers
Summary:Residency Programme
Deadline: None
Date Posted: 05 April 2018
Details: Arts Letters & Numbers was founded in 2011. At that point the summer workshop was the driving force of the organization. When the facilities grew so did the program. In 2015 the first Artist in Residence arrived. Since then we have continuously been cultivating this program to encourage individual and collaborative creation: to think, make and act alongside others within a community. The program has brought together artists from a wide range of disciplines, to 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.

Update: We are excited to announce a new addition to our Artist in Residence Program: Day Residency - For commuting artists. Over the course of the last three years we have seen the great impact the program has had on national and international artists. With such a diverse community of creative people we have realized it’s time to make the program more accessible for regionally based artists. A Day Resident will follow the same application procedure, apply for 1-12 weeks residency, and have access to all working facilities, just like any other artists who joins the program. More information below.

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 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.

Residency History
Arts Letters & Numbers was founded in 2011. At that point the summer workshop was the driving force of the organization. When the facilities grew so did the program. In 2015 the first Artist in Residence arrived.

Duration of Residency
Residencies may be from 1 week to 12 weeks. All applications are reviewed on a case by case basis.
Due to our annual Summer Workshop, we do not accept any Residencies between July 1st and August 15th.

Residency Fee and Accommodation
Shared accommodations sleeps 2 to 4 people $175/week
Private rooms $275/week
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. (Although all three of our bathrooms are shared). We will do our best and try to give everyone the privacy they need.
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.

Day Residency
Day Residency, no accommodation included $95/week
The Day Residency is for commuting Residents only. The artists will, just like any other artist in the program, have access to all working facilities.

Studio / Workspace
Because each artist's studio needs and space differs, we work with each artist to find the best possible working situation for their time. Currently, the Mill is under construction and is unfortunately not to be used for creative work. 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 Houseas well as space for our 9' grand Baldwin piano.

Expectations Towards the Artist
Artists are expected to pursue their individual creative endeavor and many times this calls for leading a workshop, giving a lecture, sharing a film, partake in critique, exhibiting/performing work etc. These are optional but has proven to be an integral tool for artists to find inspiration and to allow others to experience the works in progress or previous works. The artist will be encouraged to propose any form of sharing suitable for their work.

Available Weekly Happenings
Monday Evening: T-time; serious casual discussion, linkage making, mounting of enquiries for critical reception and processing with other minds, development of discourse, emergent language to signify thoughts and works and ways of thinking through work, relating experience to abstraction and larger contexts.
Tuesday Evening: Table Tennis gathering; potluck dinner and ping pong at various houses in the local community
Friday Morning: Liver and Onions; very casual conversations with the local community over potluck breakfast
Other available happenings: Open Mic (opportunity of sharing in progress or completed works, as well as sharing of influences and references.) Exhibitions, Performances, Workshops, Construction, Dinners and Excursions to Museums etc. (Organized and hosted by Fellows and Resident Artists)

Disciplines Support and Technical Information
The basis for Arts Letters and Numbers Residency Program is to encourage cross-disciplinary linkages. Work samples are required for evaluating applications. The application form asks for a website but if you do not maintain one as the site for samples of your work, please send samples, writing or images directly to

Selection Process
Applications are reviewed on a rolling basis and will be reviewed within 14 - 30 days. If you have any questions regarding your application do not hesitate to ask at

There are a limited number of Residency Work Scholarships available. Scholarships are only for residencies 8 weeks or longer. Please enquire if you are interested in work exchange discount.


 Creative Music Intensive | Summer 2018
Summary:Summer Workshop
Deadline: None
Date Posted: 05 April 2018
Details: As a parallel integrated program to Arts Letters & Numbers Summer Workshop, Michael Harrison and Sophia Vastek will direct the two week long Creative Music Intensive, which will be held July 22 – August 5. Participants who are applying for the program are also encouraged to attend the prior two weeks of the Summer Workshop, July 7- July 22.

In this intensive, the participants will be immersed in the creative process of making music, collaborating and performing with a diverse group of artists from many disciplines. This will be a search to find new ways to unleash everyone's creative potential, and to discover and develop individual and collaborative voices as creative artists. This intensive is open to both amateur and professional musicians in any genre (the ability to read music is not required). The directors will customize the intensive on an ongoing basis to address the needs and wishes of each and every participant. Time will be divided as needed between individual and group activities, and between the music and Arts Letters & Numbers workshop program. Visiting artists include composer/pianist Michael Harrison, pianist Sophia Vastek, composer/sound artist Nina Young, composer/violist Anne Lanzilotti, composer/percussionist Payton MacDonald, and electroacoustic composer/saxophonist Sam Torres. Visiting artists are available to coach and perform participant’s works for any combination of piano, viola, saxophone, percussion and electronics, as well as facilitating collaborations with a wide range of artists that will also be attending Arts Letters & Numbers summer workshop under the direction of ALN Founder David Gersten.

Music making activities that we will explore include:

• Collaborating on the creation and performance of a house concert at ALN
• Developing interdisciplinary collaborations and performances with a diverse group of artists
• 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) and explorations in “New World Raga”
• Indian rhythmic cycles, polyrhythms and minimalist music techniques
• Just Intonation (theory and practice)
• Creating electronic and electroacoustic music
• Installation, music concrete, sound walk and found sound
• Chamber ensemble and solo performance
• Tuition includes a private lesson for each participant (if requested)
• Workshops and presentations with visiting artists from a wide range of disciplines


 International Competition for Young Performers – Composers Oskar Rieding
Summary:Composing competition with 4 age categories
Deadline: 01 June 2018
Date Posted: 29 March 2018
Details: 1. International Competition for Performers – Composers Oskar Rieding is open for young musicians of all nationalities, who likes to compose and perform their own compositions. The primary goal of the competition is to support young performers on their music journey. Candidates can apply with one solo or chamber work for any instrument(s) /or vocal/, without electronics. The finals will take place in a wonderful hall of Narodni dom in Celje. Oskar Rieding chose this idyllic city for his home after he finished his orchestral career in the Budapest’s opera house and he wrote several important violin pieces there. These pieces still make part of repertoires for young violinists all around the world. It was in Celje where the composer wrote also one of his most performed pieces of the violin pedagogic repertoire – violin concert in H minor op. 35.

The organizing committee of the competition wants to offer to young musicians a new creative platform which will promote the importance of composing as an integral part of the development of each young musician. In this way, we will also symbolically revive the tradition of Oskar Rieding, a pedagogue, composer and performer of his own works. Performing your own piece on the stage is a very special experience.

We are looking forward to meeting you, dear young composers & performers and hearing your music!

Music is our companion throughout our life. It’s the beginning and the end. It’s a feeling and essence of many who chose it for their way of life.

Application and competition rules

A complete application for the 1. International Competition for Performers – Composers Oskar Rieding in Celje must include:
1st International Oskar RIeding Competition for Young Musicians – Composers is open for competitors of all nationalities, who likes to compose and perform their own compositions.

1. Candidates can apply with one solo or chamber work for any instrument(s) /or vocal/, without electronics. Competitior must be 20 years or younger ( exeption is the special – IV category *).
2. Competition will be divided in 4 age categories:

I category up to 10 y.o.
II category up to 15 y.o.
III category up to 20 y.o.
VI category from 21 y.o. – the special category Oskar Rieding

3. * Special category “Oskar Rieding”.
The competition has a special category for music pedagogues who are composing for their students. The category is named after a great pedagogue and composer Oscar Rieding, who devoted most of his work to his students. Only the lower age limit is set in this category: applicants from 21 years can apply. There are no upper age limits for candidates in this category.

4. Competition piece. In all categories, a candidate can apply with one composition, which can be written for a solo performer or for a chamber composition (two or more members) – in any classical music style or genre. The rule of the contest is that the author must also be the performer of the registered musical work. He/she can perform it as a soloist or as a member of the chamber group.
5. If a young musician ( I category) is getting help of a pedagogue in the process of own composing, this should be mentioned in the application.
6. In the special category IV it is desirable that a pedagogue`s pupil also participates in the performance of the declared composition.
7. The complete n-line application for the competition must include:

A filled-in application form on the competition website with enclosed:
• a YouTube link to the video recording of the candidate not older than 6 months on the day of application.*The video needs to be public (YouTube channel settings on “public”). There is a possibility to send the video recording in the DVD format. If so, please contact us before sending it via
• score of the composition in PDF format. Finalists must prepare scores in Sibelius or Finale format.
8. The competition piece should not exceed:
10 min. for the I category,
15 min. for II category,
20 min. for III category,
25 min. for IV category – The special category “Oskar Rieding”.

9. A copy of an identity document of the candidate and information (name, surname, title) of a pedagogue.
10. A proof of payment of the registration fee. *Registration fee for the competition is 65 euros for the I,II and III category and 70 euros for the IV category. After you finish your on-line application you will get your invoice for fee payment. The registration fee must be payed in the period of 5 days after you get the invoice from us. The Organizing Committee will award 5 free registration to pupils from families, who apply for this type of assistance.
11. The last day for submitting your application is 1 June 2018.
12. The organizational committee will accept only complete applications.
13. The finalists will be informed about their participation in the finals until 5 June 2018 via e-mail stated in the application.
14. The international competition will take place in two rounds:

First round will take place online on the website of the competition between 15th March and 1th June 2018. During this period the participants can send their video applications on the competition address. After the completion of applications an international jury will meet and grade the videos.The competitors will be given a gold, silver or bronze award according to their points.

All the participants will receive a certificate for participation at the 1st International Competition for Young Violinists Oskar Rieding. The citations and certificates for participation will be sent to participants by post or by e-mail. A pedagogue and a piano accompanist will also receive a certificate for participation of a student at a competition.

The gold award winners from all categories will go to the finals.

The finals will take place on 29 and 30 June 2018 in the National Hall in Celje, Slovenia; on the same day after the finished final performances there will be the award ceremony.

Solemn proclamation of the final winners of the 1st International Competition for Young Violinists Oskar Rieding will be after the final performances at the National Hall in Celje, Slovenia.

15. The finalists themselves cover their travel and subsistence expenses. The organiser will inform the finalists about possible favourable accommodation.
16. The decisions of the competition jury are final.
17. The jury may distribute any of the prizes among more contestants (ex aequo).
18. The jury can determine additional prizes for competitors.
19. By submitting the application form, the candidate and the parents or caretakers agree with the above stated rules.
20. By submitting the application for the competition, the candidate and the parents or caretakers consent to free public display of their video and audio recordings, photographs and achievements.They also allow to print the competition piece by the publisher, chosen by the jury.
21. For all questions or disputes is responsible the organisational committee of the competition. Its decisions are final.

For additional information send us an inquiry to:
We reserve the right to change these terms.


Summary:Choral Competition
Deadline: 31 August 2018
Date Posted: 29 March 2018
Details: The VBC is pleased to announce the inaugural year of a new Choral Composition Competition. The competition was established by a generous private donor to encourage the creation of new choral music by Canadian composers and to honour the organization’s history of engaging local and national composers.

The competition is open to unpublished composers who are a Canadian citizen, permanent resident or landed immigrant. If a citizen, you are not required to be currently residing in Canada. There is no age restriction.

The winner of the competition will receive:
• A cash prize of $2000 issued after the premiere performance.
• A premiere of the work presented at Christmas with the Bach Choir on December 2nd, 2018.
• Access to an archival recording of the premiere.

Works to be submitted must be unpublished, but do not need to have been composed specifically for this competition. You may only submit one composition per year for consideration.

Submissions must be:
• Target length is 4-6 minutes.
• A sacred or secular work for the winter holiday season. Arrangements of already-composed Christmas carols are not eligible. However, text from already composed carols may be used in a newly composed format. The composed work should be accessible to a wide range of listeners.
• Scored for SATB, either a cappella or accompanied by organ, brass quintet or organ and brass quintet. Occasional divisi is allowed.
• Composed using a text that is 1) original (written by the composer), 2) in the public domain, or 3) under copyright, but with written permission of the copyright holder.
• Submissions must be written in a computer engraved format such as a PDF and written in open score with a piano reduction underneath. The successful applicant will be asked to provide appropriate instrumental parts if necessary. Please note that e-mail attachments must not exceed 8MB in size. If your manuscript is larger it must be sent via dropbox or other file transfer method.
• Do not include any identifying marks on the manuscript. Please add a cover page with title, composer and text source details.

VBC Music Director’s Leslie Dala and Marisa Gaetanne with a jury of peers will review all applications. Submissions will be evaluated anonymously. One winner will be contacted by October 15, 2018 with a public announcement being made by November 1st, 2018.

The deadline for submission of all materials is August 31st, 2018. To apply, click here to complete the application form. If you have any questions, please direct them to


 Orchestral Composition Competition Based on "March for Our Beloved"
Summary:Orchestral Competition
Deadline: 31 October 2018
Date Posted: 29 March 2018
Details: Orchestral Composition Competition Based on the Song "March for Our Beloved"

- Orchestral Music (Western Music style) composed for two wind instruments
※ Submission work be one person one work

- New and experienced composer from domestic and foreign countries
※ No restrictions on age, academic background or nationality

< Details for Required Work>
- Based on the Song, 'March for Our Beloved'(Composed by Kim, JR), a transformed song enhancing universal, audience friendly music, showing the way of rich and colorful composition method of composer.
- A work musically enhancing the subject (background) and the melody of 'March for Our Beloved'

- Standard orchestral formation: 2222 4221 timp, percs, strings.
* Excluding Electronics

 * Individual woodwind instruments (Piccolo, Alto Flute, English Horn, Bass Clarinet, Contra Bassoon)

* 1 Piano, 1 Harp available, 2 percussionists (most common orchestral percussion instruments) not including timpanist.
- Excluding works requiring choir, concerto or concert song 

- Unpublished works at home or abroad
※ Should not infringe copyright of third party.
- When a dispute arises due to plagiarism etc., applicant shall take the whole responsibility and costs.

※ if problem arises after selection, it can be cancelled.

- Playing time: 10 to 15 minutes
Composition method: Free

- Performing plan : Undecided (will be noticed after selection)


Best work: 10 million won (1 person)
Excellent work: 7 million won (1 person)
Good work: 5 million won (1 person)

 ※ Prize money tax included, both for domestic and international selected people

※ Depending on the level of the work quality, there may be no selection.


- Application form (A4) 1 copy
Worksheet (A4) 1 copy
Confirmation letter (A4) 1 copy
Music sheet (Overall) A3 paper output 5 copies, recording or MIDI recording file (USB or CD) 

※ Application form download: Gwangju Cultural Foundation homepage ( - Notice
※ Submission : One copy of Application form, Work description, Confirmation letter; 5 copies of music sheet, one file
※ No mention of work name/ composer name on music sheet

Application method and period

- Download application form: Gwangju Cultural Foundation homepage ( - Notice

- Application Period: Oct 22 (Mon) ~ Oct 31 (Wed) 18:00, 2018

- How to apply: Direct or postal mail (valid with postal stamp of the day of deadline)

※ Application Agency

- Postal code: 61636

- Address: Person in Charge of Orchestral Work for “March for Our Beloved” (4th floor)
Citizen Culture Tourism Team, Gwangju Cultural Foundation Cultural Business Center
7 Cheonbyeonja-ro 338 St, Nam-gu, Gwangju, Korea


- Selection method: Screening music sheets

- Composition of judging committee: Relevant experts appointed

- Selection announcement: November 20, 2018 (Tuesday)

※ Noticed on Gwangju Cultural Foundation homepage ( and individual notification
The nominee must submit the required sheet music and others required by the Foundation until November 30, 2018

Application method and deadline

- The works submitted shall not be publicly played until the announcement of selected works.

- Authorship rights of selected works belong to Gwangju Cultural Foundation for 5 years.
Anonymity is guaranteed for the applicants' works and personal information, except for those of selected applicants

After the announcement of the selection, the unselected works will not be returned.
Other inquiries: Project Manager, Gwangju Cultural Foundation (Kim, Jeong seon) 062-670-7463

※ Inquiry E-mail ( We reply.

The link of Application form and Song Score:


Summary:Masterclass opportunity
Deadline: 29 July 2018
Date Posted: 29 March 2018
Details: She Lives is pleased to announce its Master class in Composition 2018.
Our musical association had the privilege to work with some of the most important institutions and artists in the international panorama: Solisti della Scala di Milano, Roma Opera House, Accademia Chigiana, Filarmonica Romana, Fondazione Scelsi, Royal Embassy of Norway, Swiss Institute in Rome, and great artists such as Peter Eötvös and Lasse Thoresen.

General Info
Period: 25-29 August 2018
Place: Zeneház (House of Music) seat of Concerto Budapest Orchestra.
Address: Páva utca 10, 1094 – Budapest
Ensemble in Residence: piano and string quartet (members of The National Hungarian Radio Orchestra, Hungarian Opera House and Concerto Armonico). Ensemble conducted by Andreas Luca Beraldo.
Final Concert: 29 August – House of Music. Budapest

Professors: Sidney Corbett, Alessio Elia

Sidney Corbett / Alessio Elia
– On writing for string quartet, with analytic examples from Ligeti, Scelsi and Lachenmann (and Beethoven and Bartók over our shoulders)

Alessio Elia
– Microtonality: from Spectralism to Polysystemism. From the overtone series to the simultaneous employment of different tuning systems.
(Seminar based on lectures held at Cité de la Musique, The Hungarian Academy of Arts and Chigiana Academy)
Sidney Corbett
– San Paolo, opera after an unrealised screenplay by Pier Paolo Pasolini
– Window technique: a way of managing proportions in musical composition with regard to metre, tempo, harmonic rhythm, density, register and dynamics
The pieces of the students are analyzed and discussed by Corbett and Elia from the point of view of compositional techniques and aesthetics. The conductor and editor Andreas Luca Beraldo will provide instead a conductorial and editorial approach.

Active students are entitled to attend the courses, and invited to discuss their own works with professors during individual meetings. They can also take part to the final concert with a piece written for the ensemble in residence.

Passive participants are entitled to attend the courses and the discussions of active students about their works, but they cannot discuss their own works with the professors.
Passive participants are invited to attend the rehearsals and the final concert of active students, but they cannot propose their own works.

The course is held in English.
Individual meetings can be done in the following languages:
Sidney Corbett: English, German, Spanish
Alessio Elia: English, Italian, German, Hungarian

The course provides the performance of the students pieces during the final concert (Wednesday, 29 August – h. 19:30, House of Music).
Composers are invited to write a piece for the ensemble in residence (with conductor):

Piano and string quartet
The piece can be written for any combination of the instruments present in the ensemble, from solo instrument to the whole group and must not be longer than 7 minutes.
Scores and parts, preferably written with a music notation software (Finale, Sibelius, etc.), must be sent as a pdf file no later than 29 July 2018, to the following e-mail address:

To apply, send a CV and a piece written for the ensemble in residence (any combination of the instruments present in the ensemble, from solo instrument to the whole group, and no longer than 7 minutes) by the deadline, which is 29 July 2018. Within one week of submission the applicant will be notified about participation either as an active or passive student. Subsequently it will be necessary to pay the registration fee in accordance with the result of the application process.
Students who wish to apply directly as passive participants should send only a copy of their identity card or passport, and pay the registration fee.

Course Fees
Active Students: 560 €
Listeners: 300

The fees should be sent to the following Bank Account
Associazione SHE LIVES
IBAN: IT17H0335901600100000131702
BIC/SWIFT (per le transazioni internazionali): BCITITMX
Banca Prossima – Filiale di Milano, Piazza Paolo Ferrari 10, 20121 Milano
SHE LIVES Address: Piazza della Libertà 20, 00192 – Roma (Italy).

Deadline for enrollment and delivery of the pieces and parts
29 July 2018


 Cypress Winds Clarinet Quartet
Summary:Quartet call
Deadline: 01 November 2018
Date Posted: 29 March 2018
Details: The Cypress Winds Clarinet Quartet is pleased to announce its first annual clarinet quartet Composition Competition.

The winning compositions will be performed by the Cypress Winds Clarinet Quartet at a special concert during the 2018-19 season.

Winning composer will receive public recognition and an MP3 and/or video file of the composition.

• Works must be written for the Cypress Winds Clarinet Quartet using the following instrumentation:
- 3 Bb Soprano Clarinets, 1Bb Bass Clarinet or
- 2 Bb Soprano Clarinets, 1Eb Alto Clarinet, 1 Bb Bass Clarinet or
- 1 Eb Soprano Clarinet, 2Bb Soprano Clarinets, 1 Bb Bass Clarinet or
- 1 Eb Soprano Clarinet, 1Bb Soprano Clarinet,1 Eb Alto Clarinet, 1Bb Bass Clarinet
• Compositions must be engraved with the dedication “Composed for the Cypress Winds Clarinet Quartet“
• Compositions written prior to April 1, 2018 are not eligible
• A candidate may submit more than one work, but each work must be submitted separately
• Max length of ten minutes
• Please submit score and parts in PDF file format (please include a midi file if available)
• Classical as well as non-classical styles are eligible
• No electronic devices
• Submit score and parts here:
• Competition Launch: April 1, 2018
• Deadline: November 1, 2018
• Announcement of winners: December 1, 2018
• Entry fee: $10.00 – please login to to pay the entry fee.

Deadline: 10 June 2018
Date Posted: 29 March 2018
Details: The artistic collective LOXOSconcept, with the support of Matera 2019, KEYHOLE cultural association, BLUE CAT BLUES association, SPAZIOMUSICA association promotes the third edition of MA/IN 2018 [MAtera INtermedia festival] + 2nd MA/IN~SPAZIOMUSICA COMMISSION.

The MA/IN 2018 will take place in MATERA on ealry October 2018.

The city of Matera will be “European Capital of Culture 2019”, and LOXOSconcept is project leader for 2018/2019 Sound Art/ cultural programming.
The MA/IN ~ Spaziomusica commission is aimed at the production and promotion of NEW electroacoustic composition.

The second edition of MA/IN~SPAZIOMUSICA COMMISSION is focused on the creation of a new works for FLUTE and Electronics/Multimedia.


DEADLINE: June 10th, 2018 (23:59 - Rome time) - The sumbission is open to authors and performers of any age and nationality.

MA/IN~SPAZIOMUSICA COMMISSION program (in - Works should be composed specifically for this project.

Works should be for solo flute (Concert C, Alto flute, Bass flute ) and electronics (live or fixed) or multimedia (audio-video/ lights, etc). The performer is ERNICO DI FELICE.

- All pieces must be not previously performed.
- Unfinished works are accepted but a detailed project description and some recording excerpts are required.
- Selected works will be performed twice: the world premiere at the MA/IN 2018 (Matera, early Ocotber 2018). the second performance during the 37th Festival Spaziomusica (Cagliari, early October 2018)
- If selected, the work has to be finished by August 15th 2018 (score + electronics/multimedia). - Pieces should not exceed EIGHT (8) minutes in length.
- Electronics should not exceed FOUR (4) channels.
- #1 full HD projector is available.
- The work must be free of any rights of reproduction and distribution under the obvious subject to copyright.

1) Register at filling out the necessary information (name, surname nationality, email etc).
2) Submit your project [ works ----> add (+) ]
is required
- LINK to the detailed Project in PDF (with technical specifications)
- LINK to the Recording excerpt (or midi simulation) in stereo MP3
- LINK to the Score excerpt (if available, but recommended)
- LINKS to scores and recordings/videos of your (maximum) three (#3) best works;
If you choose to enclose all files in a single shared folder, put the same URL in all fields.



 Oregon Bach Festival Composers Symposium
Deadline: 30 April 2018
Date Posted: 29 March 2018
Details: NEW SOUND WORLDS 2018:
25th Anniversary
Thursday, June 28, 2018 through Monday, July 9, 2018

OBFCS Vocal Fellows Program
Monday, June 25, 2018 through Monday, July 9, 2018

“Symposium Plus” with Philip Glass
Thursday, June 28, 2018 through Friday, July 13, 2018

Martin Bresnick
Richard Danielpour
Philip Glass
Robert Kyr, Symposium Director

Special Guest Composers- & Performers-in-Residence
The Society for New Korean Music
Seven Composers & Three Performers—
A Special Program of Intercultural Composition & Performance

OBFCS Guest Artists & Mentors
Sound of Late (New Music Ensemble)
Estelí Gomez, soprano
Lisa Moore, piano
Molly Barth, flute
James Shields, clarinet
David Felberg, violin
Nancy Ives, cello
Pius Cheung, percussion
Eriko Daimo, percussion

Early Decision: MONDAY, April 16, 2018;
Final Application: Extended to MONDAY, April 30, 2018.

Applicants are strongly encouraged to submit their applications by Monday, April 16, 2018. However, applications will continue to be accepted through Monday, April 30, 2018, which is the final deadline.
PLEASE NOTE: The application cannot be saved, so you must complete it in one sitting. However, you may take as long as you wish.

Step I: First, Choose Your Activity Category (or Categories)
Each applicant must apply in AT LEAST ONE of the following categories.

Please note that you may apply to participate in as many categories as you wish with no additional fee. All Composers are strongly encouraged to apply as “Composer/Performers” so that they can participate in the American Creators Ensemble (ACE).

Step II: Before filling out your application, please familiarize yourself with the list of application materials and the instructions below.

1) APPLICATION FORM: all participants, including auditors

The online application is linked below. Please be sure to mark ALL of the categories in which you plan to participate. No additional application materials are required to participate in Category V (Improvisation) or Category VI (Balinese Gamelan), and no prior experience is required for Categories V and VI.

2) BRIEF RESUME (at least 1-3 pages): all participants, including auditors

Your resume must be uploaded as a PDF to Dropbox, Google Drive, or another similar file hosting service, and entered into the online application via a link.

Please include a list of works (composers and composer/performers) and information about your performing experience, especially in new music ensembles (composer/performers, performers and conductors).

3) SCORES: Composers (Category I) and Composer/Performers (Category II)

All scores must be uploaded as PDFs to Dropbox, Google Drive, or another similar file hosting service, and entered into the online application via a link.

A) Instrumental Music

If you wish to write a new piece, or to have a previously composed work performed at the symposium, then you must submit at least 2-3 representative works for any combination of instruments within the American Creators Ensemble (ACE), preferably scored for 1-6 players. It is to your advantage to send as much music as possible in several different instrumental combinations.

Available Instruments:
Flute (including piccolo and alto flute)
Oboe (including English horn)
Saxophone (including soprano, alto, tenor, and/or baritone)
Clarinet (including bass clarinet)
Bassoon (including contrabassoon)
Trombone (including bass trombone)
Percussion (including vibraphone and/or marimba)
Piano (solo piano pieces are encouraged)
Double Bass

B) OBFCS Vocal Fellows Program

If you are interested in participating in the OBFCS Vocal Fellows Program, then please submit at least 1-2 pieces in any vocal genre, primarily solo voice with accompaniment (piano and/or instruments), but also music for more than one voice with accompaniment or a cappella. It is to your advantage to send as much music as possible.

Composers who are chosen for this category will have a previously composed work performed at the symposium, or be asked to compose a new work prior to their residency.

C) Korean Music Project 2018: Intercultural Composition

If you would like to be considered to compose a work for the Korean Project, please follow the instructions under ‘A) Instrumental Music,’ and also include a score that demonstrates your interest in the fusion of world and Western instruments. If you have not composed such a work, then please include items in your resume that inform us about your experience in the area of intercultural composition.

PLEASE NOTE: Be sure to apply as a Composer or Composer/Performer IN ADDITION TO indicating your interest in being considered for the intercultural Korean Project.

D) Composers Film Festival

If you have scored a film and would like to be considered to show your work at the symposium, please submit your film via a streaming platform such as Youtube or Vimeo, and note its duration, genre, and any honors received. You may submit more than one entry.

PLEASE NOTE: Participation in the Composers Film Festival does not exclude you from having a new or previously composed work for instruments and/or voices performed!

4) AUDIO RECORDINGS: all participants, except auditors

All audio recordings must be uploaded to a streaming platform such as Youtube or SoundCloud and entered into the online application via a link.

A) Original Music: Composers (Category I) and Composer/Performers (Category II)

If available, please provide a recording of each of your submitted scores.

B) Performing Audition: Composer/Performers (Category II) and Performers (Category III)

Please provide two representative works in contrasting styles (solo and/or ensemble music) that reveals your abilities as a vocalist or instrumentalist. It would be helpful if one of the pieces that you include is a performance of your own music, but it is not mandatory.

PLEASE NOTE: you may apply as a vocalist (chorus), instrumentalist, or both.

5) VIDEO RECORDING: Conductors (Category IV)

Your video recording must be uploaded to a streaming platform such as Youtube or Vimeo and entered into the online application via a link.

If you are applying to the symposium as a conductor, you may submit an audition video of at least 1-2 representative examples of your conducting, not to exceed 15 minutes in total duration. In the absence of a video recording, an audio recording that represents your conducting abilities is acceptable.

6) Letter(s) of Recommendation (optional)

If you choose to include a letter of recommendation, please ask your recommender to send your letter to Robert Kyr, Director of the Oregon Bach Festival Composers Symposium, at In the subject of the email, please make sure that your recommender includes your name and the text, “OBFCS recommendation.” Your recommendation will be completely confidential and will only be seen by the director of the symposium.

Step III: Indicate Your Interest in the “Symposium Plus” with Philip Glass
No additional application materials are required to participate in the residency with Philip Glass. If you would like to attend the residency, simply indicate your interest on the online application. Tickets for the two Glass concerts (July 11 & 12) must be purchased independently on the Oregon Bach Festival website.

PLEASE NOTE: Only twenty participants living in the Kalapuya Illihi Hall will have the opportunity to continue occupancy during July 9-12 based on those who apply first for this option; all other participants in Kalapuya Illihi Hall who sign up for “Symposium Plus,” will need to find their own off-campus housing for July 9-12. Please see “Other Housing Possibilities” on the Tuition and Expenses page for additional housing suggestions.

Step IV: Please Fill Out the Online Application Form and Submit Your Application Materials
Please complete the GoogleForm linked below. To request a paper application, or to report any trouble completing the online form, please contact Susanna Payne-Passmore, Webmaster, at


Summary:Call for scores based on writer's works
Deadline: 01 August 2018
Date Posted: 29 March 2018
Details: Synchromy announces a call-for-scores based on the writing of Ursula K. Le Guin

We are planning a concert of music to celebrate the life and work of author Ursula K. Le Guin. This concert will be presented during the 2018-19 season in Los Angeles. We are seeking chamber music only, no large-ensemble or choral works will be considered. Completed scores are preferred, but works-in-progress will be considered in consultation with the composer.

The details:
• There is no fee for entry, and submitted scores should not be anonymous.
• UPDATE – Scores should be directly related to the work or life of the writer Ursula K. Le Guin. Some examples

o A setting of text written by UKL
o A piece inspired by a specific work created by UKL
o A piece written to honor UKL
• Scores should be submitted by August 1st, 2018. In the case of works-in-progress, whatever is available should be submitted, along with a description of the remaining work to be completed.
• Recordings are preferred, MIDI realizations are acceptable.
• There is not a set instrumentation list, but keep in mind the practicalities will be a factor in programming, so large or unusual instrumentations may prevent us from being able to program your work at this time, though we’d still like to see it!
• If you have set Le Guin’s text, please provide a signed statement saying that you have been authorized to do so by either Le Guin herself or her literary managers.
• Submit scores and recordings (links to soundcloud or similar streaming options are fine) by August 1st, 2018 to . Scores that do not meet this deadline can still be submitted, but might not be considered.
• There are no age limits or nationality/residency requirements. All are invited to share their work.
• Synchromy will not be able to provide transportation, commissioning or rental fees for any composers whose work is selected for performance. Synchromy may not choose to perform any works submitted at all.
• Selected scores and parts must be completed and delivered to Synchromy by October 1st, 2018 unless other specific arrangements have been agreed to by both parties.

Questions? Contact us at We look forward to seeing your work.


 Firebird Composer of the Year 2018
Summary:Orchestral Call for Young Composers
Deadline: 30 April 2018
Date Posted: 22 March 2018
Details: London Firebird Orchestra

Deadline: 30 April 2018
Details: Applications are welcome from current students or recent graduates of any UK conservatoire or university who will be under the age of 31 years on the date of the performance (12 June 2018). Please submit one composition that has not previously been performed in public of maximum duration 8 minutes, maximum orchestration 3332 4331 Timp+3 Str, and that is in line with the concert’s American themed programme.
Prize: £500 and a live début public performance of the winning composition on 12 June.
Contact: Please submit full pdf score and MP3 audio file to

 2018-19 CINTAS Foundation Brandon Fradd Fellowship in Music Composition is
Summary:Award for artists of Cuban citizenship or direct lineage
Deadline: 01 June 2018
Date Posted: 22 March 2018
Details: The CINTAS Foundation Brandon Fradd Fellowship in Music Composition competition is offered annually.

The winner of this Fellowship in Music Composition will be eligible to have their work, if suitable, performed as part of the New Music Miami ISCM Festival led by Orlando Jacinto Garcia and being held in 2020 at the FIU Miami Beach Urban Studios. The corresponding experience and exposure of such prestigious performances represents a highly enriched award to the winner.

Candidates must submit a minimum of 3 and a maximum of 5 recordings, two should be recent works. Recordings must accompany scores. Scores must be digitally scanned in pdf form. A list of all works (including the date of each) must be provided, showing which works have been performed or read. Please do not submit commercially sold cds or compilations. Compositions on microfilm or loose sheets will not be accepted. For the purpose of historical value, the winner is expected to submit signed and dated bounded scores and an accompanying CD to be added to the CINTAS Fellows Collection.

Since 1963, the CINTAS Foundation has awarded over 24 fellowships in music composition. In addition to supporting Cuban artists, many early in their careers, the CINTAS Foundation also maintains a growing collection of works by past awardees and other esteemed Cuban artists. For the purpose of historical value and documentation, award recipients are encouraged to submit signed music scores (i.e., representative samples of their work) to be added to the CINTAS Fellows Collection after the grant period.

Application Guidelines - Fellowship in Music Composition

Eligibility: Creative artists of Cuban citizenship or direct lineage (having a Cuban parent or grandparent). Applicants engaged in research, students, or performing artists are not eligible to apply for CINTAS Fellowships.

All forms can be filled out online and saved to a cd, dvd or flash drive for submission. Please also print and sign copies of the application forms and include with your application package.


The original application must be submitted. The application may be completed in English or Spanish. Please complete all sections of the application.

Artist's and Project Statements

Prepare two narrative statements: The Artist's Statement describes your personal history, your development as an artist, and your plans for the future. The Project Statement describes the project or activity that you would undertake if awarded a CINTAS Fellowship. Please include a timeline for the project, and identify other sources, where appropriate, of funding for the project.

Letters of Recommendation

Candidates must submit two letters of recommendation with the application. Letters may be submitted separately, if necessary, but must be received by the application deadline. Each letter of recommendation must be submitted in a sealed envelope, with the recommender's signature across the seal. Letters of recommendation must be written in English or Spanish.

Submission of Work Samples

Submission of Work Samples: All materials should be submitted to the CINTAS Fellowship Selection Program. Candidates are encouraged to send their materials electronically to the email address below or ship portfolios by express mail if necessary. Acceptable methods include Dropbox, Hightail, flash drive or CDs/DVDs. Materials must be accompanied by the Work Sample Form. Pieces should be carefully itemized on this form. Limit the submission to 5 (five) samples.

Send material to:

Laurie Escobar
CINTAS Administrator
MDC Museum of Art + Design
Freedom Tower at Miami Dade College
600 Biscayne Blvd.
Miami, Florida 33132

Tel: 305-237-7901

 Tampa Bay Symphony
Summary:Orchestra Competition
Deadline: 01 October 2018
Date Posted: 22 March 2018
Details: Tampa Bay Symphony 3rd Annual CALL FOR SCORES COMPETITION

The Tampa Bay Symphony is announcing a call for scores competition for living composers. One score will be selected for performance on our Spring 2019 concert series* (performances April 28, 2019, 2:30pm in Palm Harbor, FL; April 30, 8:00pm in St. Petersburg, FL; May 5, 2:30pm in Tampa, FL). Finalists will be notified by November 1, 2018 and the symphony will read/rehearse the compositions by the finalists at a public event on Sunday, January 20, 2019, 2:30pm. There is a cash prize of $1,000 for the winning composer provided the composer attends at least one of the performances in person. (Please review performance dates carefully before submitting.) Up to three finalists will be chosen to have their works rehearsed by the orchestra. Each finalist is eligible for up to $250 in travel reimbursement if they are available to attend the reading rehearsal on January 20, 2019.

Deadline for submission of materials: October 1, 2018.
Finalists notified by November 1, 2018
Finalists must submit parts by November 15, 2018
January 20, 2019: reading/rehearsal of finalist compositions followed by announcement of selected composition for the Spring 2019 concerts*

April 28, April 30 and May 5, 2019 Spring Series performance dates (Winning composer must attend at least one of the performances to receive the cash award of $1,000.)

*The Tampa Bay Symphony reserves the right to choose no winning selection. The Music Director will also consider all finalist works and submissions for possible future programming even if not chosen by the orchestra as the winning piece.

• All interested composers at any stage in their career are eligible to apply. There are no age or citizenship restrictions.
• The work must be composed after January 1, 2001.
• Only one submission per composer will be considered at this time. Please do not send multiple works. No concerti will be considered at this time.
• The work should be between 8 minutes and 16 minutes in length. Works shorter than 8 minutes or longer than 16 minutes are subject to disqualification at the sole discretion of the Tampa Bay Symphony.
• Works that have been chosen as winners or finalists in previous years may not be resubmitted, however previous winners and finalists are encouraged to submit new works.

2017 – Season 30 – winner: Allen Molineux, Trifles
Link to TBS performance of 2017 winning composition:
2018 – Season 31 – winner: Daniel Despins, Yetzer Hara Scheduled to be performed by TBS April/May 2018

No more than 3 flutes (one doubling piccolo or one piccolo/2 flutes OK)
No more than 3 oboes (one doubling English Horn or one English Horn/2 oboes OK)
No more than 3 clarinets (one doubling Bass Clarinet or one Bass Clarinet/2 clarinets OK) No more than 2 bassoons
No more than 5 horns
No more than 3 trumpets
No more than 3 trombones (one is bass)
No more than 1 Tuba
No more than one set of Timpani
No more than 3 percussionists (in addition to Timpani)
Strings (current TBS string numbers are 28 violins, 11 violas, 10 cellos and 6 basses)
The submitted composition should include at least one full string section
WORKS WITH HARP or PIANO parts WILL NOT be eligible.

Submission of all materials is electronic. Please send an email to Susan Rhein at using a subject line of TBS Composition Contest, including the following:
• PDF of the score of the submission
• PDF of program notes and performance history for the submission if it has previously been
performed. New works that have not been performed are also welcomed.
• Audio (.mp3) or video (.mov /.mp4) recordings of the work, or links to on-line recordings, if
available (This is not required, MIDI representations are acceptable.)
• A brief bio of the composer submitting the work with contact EMAIL address and phone number
• A $25 USD non-refundable application fee must be received by the Tampa Bay Symphony by

October 1, 2018. This application fee can be paid via PayPal invoice or by mailing a check payable to Tampa Bay Symphony addressed as follows: Tampa Bay Symphony, ATTN: Composition Contest, PO Box 4653, Clearwater, FL 33758. Contact Susan Rhein at email address listed below to receive a PayPal invoice for the entry fee.

Files over 20MB should be submitted using a file-sharing service such as Google Drive or Dropbox.

Please address questions to Susan Rhein at using a subject line of TBS Composition Contest.

The Tampa Bay Symphony is comprised of 80 + volunteer musicians of high skill level. Most standard orchestral repertoire is well-executed by the TBS. Samples of works performed over the last three years include:
Arutiunian Trumpet Concerto

Beethoven Symphony #6
Dvorak Symphony #8
Elgar Enigma Variations
Holst Beni Mora SuiteLiszt Piano Concerto #1 Puccini Highlights from Madama Butterfly Rimsky-Korsakov Scheherazade Shostakovich Symphony #5
Strauss (Richard) Four Last Songs Sibelius Symphony #1 Tchaikovsky Symphony #2

The difficulty level of submitted works will be a consideration in the selection process. While challenging works in the standard repertoire are doable by the Tampa Bay Symphony, due to the limited rehearsal time and the unfamiliar nature of recently written compositions, composers are advised not to send works of exceptional difficulty level.

There are numerous videos on YouTube of the Tampa Bay Symphony performing in recent years.

 Iannis Xenakis International Electronic Music Competition
Summary:Electronic Call
Deadline: 31 December 2018
Date Posted: 22 March 2018
Details: The competition is anonymous and open to composers of any nationality and age, each of whom may submit only one work.
– The composers who were awarded in 2016 Xenakis competition cannot participate to the 2018 competition.
– The submitted work shall be an electroacoustic composition, it is meant to be diffused by loudspeakers, without any intervention of live sound sources.
– The submitted work might implement a maximum of 8 channels and must have a duration between 7 and 15 minutes.
– The submitted work may have been performed in concert but It should not be the object of any discographic publication/rights.

– The deadline for submission is 31st of December 2018.

The Jury will select and mention the 5 highest quality works and will award three of them with prizes of €600 €400 €300 respectively. Contemporary Music Lab will present the distincted pieces in a concert in April 2019.

The entry fee for participation is 15€. You can use the following links to pay on-line.

– All applicants should submit a single zip file containing the following files inside a single folder:
i. A short biography, contact information and information about the piece in the following formats: (.doc, .txt, .rtf or .pdf).
ii. 1 Audio file (.aiff or .wav format, 16bit or 24bit at 44,1kHz sampling rate) containing the stereo version of the piece.
iii. Additionally, for multichannel pieces the audio files corresponding to each of the channels inside a separate folder along with set-up/routing information on a separate sheet
iv. Please include also the pdf receipt of the fee payment
– Please name the ZIP file as following: IX2018_Name_Surname_TitleOfThePiece (e.g. IX2018_Nick_Edison_Title).
– Please use the following link to register your details and upload your piece
Application Form

By entering his/her work in the competition, the composer consents to public performances free of charge of his/her work in concerts and/or radio broadcasting.

 The composer retains the copyright of his/her work. The files entered in the competition shall remain in the archives of Contemporary Music Lab of Aristotle University of Thessaloniki.


Trevor Wishart (UK) – Chair
Ludger Brümmer (DE)
Oliver Carman (UK)
Panayiotis Kokoras (GR/USA)
Joao Pedro Oliveira (PT)


 Giga-Hertz Award
Summary:Funding Opportunity (see Special Prize)
Deadline: None
Date Posted: 22 March 2018
Details: Since 2007 the Giga-Hertz Award for electronic music has been jointly awarded by the ZKM | Institute for Music and Acoustics and the Freiburg EXPERIMENTALSTUDIO of the SWR.

Giga-Hertz Award 2018
This year, the Giga-Hertz Award is endowed with a total of 20,000 €. This year, the Giga-Hertz Award will be presented for the eleventh time. The Giga-Hertz First Prize for Lifetime Achievement is determined through recommendations from members of the jury. As well as the €10,000 prize money which comes with the Giga-Hertz First Prize, there are also two €5000 internationally oriented Giga-Hertz Production Prizes for initiating and promoting new projects and are directed at artists and composers of electronic or electro-acoustic music as well as mixed music.

The award-giving ceremony takes place on Saturday, November 24, 2018.
The Giga-Hertz Award is dedicated to world-famous physicist Heinrich Hertz (1857–1894) who discovered electromagnetic waves at the Karlsruhe Institute of Technology (KIT) where he taught at the end of the nineteenth century. The award was arranged as an initiative of the ZKM | Center for Art and Media.

Giga-Hertz Grand Prize for Lifetime Achievement
The Giga-Hertz Grand Award of 10,000 € distinguishes renowned composers for their lifetime achievement. The prize is based on jury recommendations rather than an open call.

Giga-Hertz Special Prizes
The two internationally oriented Giga-Hertz Special Prizes are each endowed with 5,000 €. They serve to initiate and promote of new projects and are directed at composers of electronic and acousmatic music.
The application for special prizes takes place in two stages:
1. With the submission of a reference work no more than five years old and no longer than twenty minutes. This work forms the basis for the jury’s evaluation, and should clearly use electronic-technical means. Furthermore, in the case of selection by the jury, the work in question should be presentable with minimum technical effort.

2. A project exposé of a new, projected work should also be submitted. The prizewinners' newly created works will premier as part of the Giga-Hertz Award ceremony in the following year. The realization of these works takes place by the jury's decision whether at the EXPERIMENTALSTUDIO of the SWR or at the ZKM | IMA. (The project proposal can be modified to match the production resources available at the respective studios.)
Information about the Giga-Hertz Award winners of the past years as well as video recordings of the past Giga-Hertz Award festivals can be found at


 Cultural society CAMIN-ART and MUSLAB ensemble calls
Summary:Electroacoustic/electroacoustic with video call
Deadline: 01 July 2018
Date Posted: 22 March 2018
Details: Composers and visual artists of any age, gender or nationality to participate by sending in a piece of electroacoustic music, electroacoustic music and video and/or video mapping for the 2018 International Electroacoustic Music Exhibition.Composers and visual artists of any age, gender or nationality to participate by sending in a piece of electroacoustic music, electroacoustic music and video and/or video mapping for the 2018 International Electroacoustic Music Exhibition.


About the art piece.

• Deadline for applications: March 15 through July 1 of 2018.
• Only pieces composed after JAnuary 1 of 2008
• Piece length shall be from 5 to 10 minutes.
• Only one piece per each category defined by the author will be admitted
• Submissions should be signed by the author (authors) and pseudonyms will not be admitted.
• Every art piece, including those previously exhibited, could participate if accompanied by a letter of consent for their presentation and recording at this exhibition.
• There will not be fees for registration.


• Category A (Audio only): Open for compositions of autonomous electroacoustic music (MUSICA DE CINTA), submit just one movement regardless of the full length of the piece.
• Category B (Audio and video): Open for compositions of autonomous electroacoustic music, submit just one movement regardless of the full length of the piece. Compositions intended for electroacoustic and video.
• Category C (Video only): Open for visual art/video-art compositions.

Track numbers: Stereo, 3.0, 4.0, 5.1, 6.0, 7.0, 8.0
Permitted file formats: .aif, .wav, .mov, .mp4


All participants must register electronically and attach a ZIP file (no more than 20 MB) containing the following:

1. Registration application properly duly completed online. Download here:
2. High resolution photography of the artist.
3. Signed consent letter.
4. Link to a downloadable full length composition.
5. Attach a stereo copy of the piece .mp3 format

If any of the previous is missing the submission would not be considered.

IMPORTANT: Do not use storage servers that erase the files sent a while ago (e.g. Wetransfer). Your files must be available for download at any time up until the release of the results. Some options may be: Dropbox, Google Drive, OneDrive.


• Cultural Society CAMIN-ART and MUSLAB Ensamble have invited renowned composer and musicologist, all of them with extensive experience in electroacoustic music to form a Selection Committee that will review the quality of the pieces submitted.
• Compositions will be presented and promoted regardless of the attendance of the author, however for those creators interested in attending the exhibition that confirm their presence, the committee will make an effort to program their piece during their stay in any of the venues. To accommodate you in the best possible conditions, we will be glad to hear about your possible attendance along with your submission and the potential dates for your travel.
• Travel, accommodation, or feeding expenses will not be covered. Nevertheless support will be given to creators available for travel by sending off letters or invitations directed towards entities that could be helping them to cover these expenses.
• By participating on this Exhibition, the author consents and authorizes to the promotion of their work excluding the cultural society CAMIN-ART and MUSLAB of any fee, responsibility to associations, or copyright entities and grants permission to promote their work at the concerts, activities and radio broadcasts of the MUSLAB International Electroacoustic Music Exhibition.
• All pieces that are signed in a record company must state this in a letter along with the permission from the record company to be promoted through MUSLAB International Electroacoustic Music Exhibition.
• If the author decides to participate in the production of a CD-DVD, which will be sent to different audio libraries and libraries around the world, they must send a consent letter for the recording of their work in this CD-DVD edition. The composer remains owner of the copyright but authorizes the promotion of their work.
• The audio recording presented in the exhibition will not be returned to the author and will remain in the archive of the cultural society CAMIN-ART and will be donated to the Mexican National Audio Library.
• MUSLAB International Electroacoustic Music Exhibition is not a contest; it is convocation and an opportunity to promote sound art linked to the creation of visual effects in public spaces, the training in new technologies and an artistic contribution to strengthen social coexistence. It will be held in outdoor spaces and forums in Mexico, Argentina and Brasil
• Selection Committee may decide not to include a piece in the exhibition or to change the program.
• Each participant will be notified regarding your application and selection status.
• Compositions will be programmed for exhibition from October 1 to December 31 2018 in different MUSLAB venues.
• Participating pieces could be broadcasted on the radio.


 Boston New Music Initiative
Summary:Competition with two categories
Deadline: 30 April 2018
Date Posted: 22 March 2018
Details: Opens: March 15, 2018
Deadline: April 30, 2018

The Boston New Music Initiative is announcing a call for scores to be programmed on a concert in collaboration with an established guest string quartet as part of BNMI’s tenth season. 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.

The theme of BNMI's Tenth Season, which runs from 2018-2019 will be “The Beauty of the Line.” We aim to program one (1) to three (3) works per category. Works chosen for this will be presented at a performance to take place in the Fall of 2018.

Category 1: String Quartet(+)
Works for string quartet alone or with one or two instruments from BNMI’s core ensemble (see Instrumentation below). Submissions should be for four to six instruments.

Category 2: Pierrot Ensemble(+)
Works for at three or more players, at least two of which must be from BNMI’s core ensemble (see Instrumentation below), with the possible addition of one or more members from the string quartet. Maximum Instrumentation: Fl, Cl, 3 Vln, Vla, 2 Vc, Pno, Perc.

At this time we are not accepting solos, duets, or works with any instrument not listed. See Instrumentation below for acceptable doublings. Works with electronics are accepted, see below for specifications.

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

1. Instrumentation. BNMI’s core ensemble 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 with unusual percussion instruments or a large number of percussion instruments may not be able to be programmed. Stereo electronic, electroacoustic, or multimedia works are accepted, but live performers must be used (no fixed-media).
2. Duration. Works can be of any duration, although preference may be given to works which are 12 minutes or less.
3. Multimedia. For all multimedia submissions, composers must either indicate that they have the rights to the specific multimedia element to be used (e.g. the film, tape, MAX/MSP patch, choreography, artwork, etc.) and grant BNMI permission to utilize it during performance, or else grant BNMI permission, at its discretion, to create a multimedia element. In the second case, BNMI reserves the right to incorporate or not to incorporate multimedia elements at its sole discretion.
4. Electronics. Scores of works involving electronic elements must include information on the specific technical requirements for performance. Likewise, multimedia works must indicate any extramusical forces needed. Works utilizing excessive electronic equipment may not be able to be programmed.
5. Number of Entries. There is no limit on the number of works a composer may submit; however, each work should be submitted as a separate entry. Multi-movement works should be submitted as single entries, even if movements are in separate files. (The submission process allows for multiple files per entry.)
6. 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.
7. 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.
8. File Formats. The only acceptable file formats are:
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
9. Delivery of Music. Selected composers are required to provide electronic copies of the full score and parts within four (4) weeks of their notification of selection. If electronics or multimedia are involved, all files required for performance and rehearsal must be submitted within the same time frame.
10. 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.
11. 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 PDF file of the score.
2. A recording of the work (not required but encouraged)
3. For works using electronics, a detailed description of technical requirements and processes needed (i.e. a “tech rider”).
4. An entry fee for each submission. The entry fee for this competition is $15 for Associate Members, and $5 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 Title, instrumentation, and duration of the work
o Work’s date of completion and complete performance history
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 and program notes for the work (maximum 300 words each), to be used if the work is selected. BNMI reserves the right to truncate the program notes or composer biography if either exceeds the word limit.

To Apply:
Please click the submit button at the bottom of the page.

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

Helpful Hints:

1. Please note that new memberships may take up to 24 hours to be approved (although usually much less). Composers signing up as new members who wish to submit to this competition should be sure to allot enough time for the approval process to complete in order to meet the April 30 deadline.
2. The submission portal is not available without login credentials. Composers who are not existing BNMI members should not attempt to go to the submission portal without submitting a membership application first: in order to create login credentials.
3. Once your files have been added for each work, be sure to complete your payment in the bottom left-hand corner of the screen. Full members must have dues paid in full in order to receive full membership benefits, including discounts on Calls for Scores and commissioning competitions. For those composers submitting more than one entry, payment should be made only after ALL entries have been completed.
4. More questions? Please see our submission guide.


 Bay Colony Brass
Summary:Large brass ensemble call for scores
Deadline: 30 April 2018
Date Posted: 22 March 2018
Details: Call for Scores: March 15-April 30, 2018

Bay Colony Brass is pleased to announce its 2nd Annual Call for Scores. Bay Colony Brass (BCB) is one of the few large brass ensembles (or brass choirs) of its kind in the United States. Composed of twenty players, the group performs a broad range of repertoire spanning five centuries of brass and orchestral music. Bay Colony Brass is a volunteer organization and registered 501(c)(3) nonprofit in Massachusetts.

Composers of any age and nationality are invited to submit. Submissions will be accepted for BCB’s full ensemble or any subset thereof, though preference will be given to submissions using all or most of the full ensemble. Works will be judged on a number of criteria, including play testing, and the winner(s) will be performed in the 2018-19 season.

For our 2nd Call for Scores, submissions will be divided into two categories: composers may submit any work for brass that fits our instrumentation, but also we are encouraging submissions which fit our collaborative partner for the 2018-19 season, the Merrimack Valley Ringers. Works for brass and handbells will be given special consideration.


1. Composers are invited to submit any number of scores, though each submission must be accompanied with a separate entry fee.

2. Scores of any length may be submitted, but duration should be marked on the score.

3. Scores can be of any instrumentation up to and including: 6 trumpets, 5 horns, 3 trombones, bass trombone, euphonium, 2 tubas, 2 percussion. Smaller works will be accepted, although preference will be given to larger (14+ players) pieces. Multi-movement works are acceptable, as are works for multiple choirs of smaller ensembles (e.g. antiphonal quartets or quintets). Multi-movement works are considered single entries. To the extent possible, combine the files of multi-movement works into a single file before submitting.

4. Scores must be submitted electronically as .pdf documents to: A confirmation email will be sent back confirming receipt.

5. An entry fee of $15 must accompany each submission, payable through PayPal (link appears above.

6. Winners will be announced by the end of May 2018, and winning submissions will be programmed on BCB’s 2018-19 season.

Submission process:

1. Pay the submission fee (see link above)

2. Include the Paypal receipt # in an email, along with .pdf attachments of the score, a short bio, and recording if possible (.mp3, .wma, .mid, or .m4a), to

3. Name the files with your name and their titles in this way:


4. We will accept links to posting sites such as Dropbox for files larger than can be sent through email (10 MB or larger). Please include credentials if applicable.

Good luck!

 Bartók World Competition Budapest
Summary:Solo piano composition competition
Deadline: 31 August 2018
Date Posted: 15 March 2018
Details: The Liszt Ferenc Academy of Music Budapest as the founder of the Bartók World Competition announces the Competition for composers to create piano solo pieces according to the following guidelines:
- The works should give pianists the opportunity to show both their musical and technical abilities.
- Length of composition: 5-6 mins.
- The composition cannot include use of fixed audio media.
- The composition cannot include extended techniques
- The composition cannot be for a prepared piano.

The submitted work must be
- unpublished, unlisted
- without any prize at national or international composition contests,
- without any commercial recording,
- without public performance prior 25 November 2018.

The competition is open to composers of all nationalities born on or after 1 September 1978.
One composer may submit several works.

31 August 2018

€ 50 per composition, to be paid through bank transfer to:
Account holder: Liszt Ferenc Zeneművészeti Egyetem (Liszt Academy of Music)
Account number: IBAN: HU22 1003 2000 0142 6768 0000 0000
Swift-BIC code: MANEHUHB
Mention: „Bartók World Competition – Composition 2018”
All transfer and bank charges are to be covered by the applicant.

Submissions are due 31 August 2018 latest and should be sent to

The submitting e-mail must contain:
- a composition for piano solo in PDF format (A4 sheet music).
All scores must be sent anonymously; only a pseudonym can appear on the score pages.
The file is to be named: chosenpseudonym_Bartok2018.pdf
- a MIDI realisation of the work or a non-commercial recording (mp3 format).
The file is to be named chosenpseudonym_Bartok2018.mp3
- a scanned printout of the registration fee payment
- scanned submission form including
the declaration of authenticity,
a statement as to the fact that the work is yet unpublished and that it has never been performed professionally.
The file is to be named: chosenpseudonym_form_Bartok2018.pdf
- program notes on the composition (max. 1000 characters) – not being part of the evaluation process!
- a biography of the composer (max. 1500 character)
- a portrait photo (min. 1 MB, 300 dpi)

A coordinator is the only person to see your emails. Only the sheet music with your pseudonym and the sound file is going to be circulated among the judges. All PDFs and mp3-s will be deleted after the contest. Only the composers of the prize winning and honorable mention works will become known to judges and public.

A Selection Committee that consists of faculty members of the Liszt Academy Budapest will shortlist all submissions and choose 12 pieces for the international Jury who will decide on the final results.

Thomas Adès (GB) - president
Unsuk Chin (ROK, D)
Chaya Czernowin (IL, USA)
Gyula Fekete (H)
Andrei Korobeinikov (RUS)

The Jury’s decision is final.

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.
The Jury will select also works for honorable mention.
Prizes are subject to tax according to Hungarian taxation law.

The prize winning works as well as the compositions receiving honorable mentions will be presented at a Gala Concert at the Grand Hall of the Liszt Academy on 25 November 2018, where prizes will be handed to the winners.

Composers of the pieces to be performed are welcome to the Gala Concert in Budapest. The organizers will cover 2 nights of accommodation.

Two pieces will be selected into the repertoire of the Bartók World Competition – Piano competition’s semi-final. Selected works are to be published by Universal Music Publishing Editio Musica Budapest.
Questions should be addressed to

Submission of sheet music implies the unconditional acceptance of all conditions set here. The Liszt Academy Budapest retains the right to visually and acoustically document, record and reproduce all concerts, performances and presentations held during the course of this competition and the subsequent Bartók World Competitions for the purpose of documenting and advertising the competition, as long as those recordings are used for non commercial purposes. The recordings might be carried out by the Liszt Academy Budapest or by it’s collaborating partners.

 The Hibernian Orchestra – Call for Compositions 2018
Summary:Orchestra Call for Scores
Deadline: 30 May 2018
Date Posted: 15 March 2018
Details: Deadline: Wed 30 May 2018 - 17:00
The Hibernian Orchestra, Ireland’s leading voluntary orchestra, invites submissions to its second Composition Competition. The aim of the competition is to bring new works to the repertoire of high-standard amateur orchestras.

The overall winning composition will be performed in a public concert by the Orchestra in its 2018-19 Season. In addition a selection of runner-up composers will have the opportunity to work with the conductor and Orchestra in the rehearsal of their respective piece.


A panel of adjudicators, to include the orchestra's Artistic Director and Artistic Co-ordinator, will read the entries and select the winners. Canvassing will result in disqualification. The judges' decisions will be final and no correspondence will be entered into between the adjudication panel and entrants. If an insufficient number of compositions of requisite quality are submitted, the adjudication panel reserves the right not to award some or all prizes.


Please submit an entry in the form of a pdf and mp3 / mp4 audio track (the file name of the pdf and audio file must not contain the entrant’s name), along with a separate document giving the composer's name and contact details via email to

RULES & REGULATIONS: •Duration: 3-5 minutes
•Orchestration (to be drawn from a max of): 2 flutes (+picc opt), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, strings, harp, percussion – standard orchestral percussion – please consult the
orchestra manager in advance re percussion requirements. Pieces for smaller ensembles drawn from the above instrumentation are also welcome.
•Entries must be original, must not have previously been published, broadcast publicly, made available to a music publishing library or be subject to any agreement in relation to such publication. Entries must not infringe the intellectual property rights of any third party.
•If you are adjudicated to be a prize winner, you grant The Hibernian 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.
•Where you go on to publish, broadcast or record your entry yourself or your entry is published, broadcast or recorded by a third party under licence, you further agree and will procure that the following inscription is included below the title: "Winner of the 2018 Hibernian Orchestra Composition Competition".
•Prize-winning composers are expected to attend rehearsals and the performance.
•The competition is open to composers born or normally resident in Ireland.
•Only one entry per individual is permitted.


 West Suburban Symphony
Summary:Orchestral Competition
Deadline: 31 December 2018
Date Posted: 15 March 2018

The West Suburban Symphony, based in Hinsdale, Illinois, invites early‐career composers to submit an orchestral work to be considered for performance in the Symphony’s fall 2019 – summer 2020 season. The winning composer will receive a $500 prize.

The composer must be enrolled in at least one undergraduate or graduate‐level college course during the 2018‐19 academic year.

Composition must have a performance time of 15‐20 minutes and be scored for full orchestra as follows:
-Strings: first violin, second violin, viola, cello, and contrabass
- Winds: 2‐3 flutes/piccolos, 2‐3 oboes/English horns, 2‐3 clarinets (may include Eb and/or bass clarinet), 2‐3 bassoons (may include contrabassoon), 4 French horns, 2‐3 trumpets (may include piccolo trumpet), 3 trombones (may include bass trombone), 1 tuba
-Other: timpani and/or percussion parts that can be covered by 1‐3 players; harp and keyboard parts are optional

Materials required to enter the competition

- Full conductor’s score for the composition, on paper, printed double‐sided and spiral bound
- Synthesized electronic recording of the composition, on CD or USB thumb drive
- Proof of composer’s current college enrollment as of December 31, 2018, on paper
- Photo and short biography of the composer, on CD or USB thumb drive

-December 31, 2018, is the postmark deadline for submission of entries, via the U.S. Postal Service, to West Suburban Symphony, P.O. Box 565, Hinsdale, Illinois 60522
-By March 1, 2019, entrants will be notified of decision regarding their composition
-By August 1, 2019, winning composer must supply the Symphony with a complete set of orchestra parts, as PDFs on a CD or USB thumb drive after consultation with the Symphony’s music director
-Between September 2019 and July 2020, the West Suburban Symphony will perform the winning composition ‐‐ the $500 prize will be paid upon performance of the composition

Upon selection of the winning work, the Symphony and composer will enter into an agreement that stipulates the following regarding the composition:
-Composer owns the copyright
-West Suburban Symphony has rights of first performance, unlimited rights of future performances, ownership of a full set of parts, and rights to any concert recordings made
-If the Symphony records its performance of the work, it will provide a copy of the recording to the composer

 International Markku Johansson competition in composition and arrangement
Summary:Orchestra Competition
Deadline: 15 June 2018
Date Posted: 15 March 2018
Details: Deadline: Fri 15 Jun 2018 - 17:00

Launched by the Vantaa Pops Orchestra last autumn, the Markku Johansson competition in composition and arrangement will close in four months. Compositions and arrangements for the full symphony orchestra may be lodged until 15 June 2018. This competition is unique even by international standards, and the expectations are high.

This international competition is open to everyone, and it will be judged by Jaakko Kuusisto (conductor and the chair of the jury), Hans Ek (conductor, Sweden), Antti Rissanen (renowned trombone player and a big band professional) as well as Markku Johansson, the honorary conductor of the Vantaa Pops Orchestra.

The finalists chosen by the jury will be performed in the final concert, conducted by Nick Davies, on 17 September 2018 in the home town of the Orchestra. The jury will also decide on how the prize money of 18 000 euros is divided between the two categories and the entries within them.

”The aim of this competition is to find new, high quality and recognisable light music for the full symphony orchestra, of the kind which orchestras around the world would like to include in their repertoire”, says Markku Johansson.

”This competition is unique in that there are two categories, it does not cost anything to participate and it provides an opportunity to try out ideas with a large orchestra without any limitations imposed from outside. The expectations have grown over the months: the significance of this unique competition may well punch above its weight”, Jussi Lampela, the competition secretary, observes.

Vantaa Pops Orchestra is the oldest symphony orchestra that plays popular music in Finland. Its players are among the top musicians in rock, classical music and jazz. Its principal conductor, Nick Davies, has worked with several well-known symphony orchestras around the world. The artistic partner of the Orchestra is Lauri Porra, a great-grandchild of Jean Sibelius, who has toured the world with the band Stratovarius.

 International Composition Competition for Philippine Folk Music
Summary:Call for Young Composers
Deadline: 31 July 2018
Date Posted: 15 March 2018
Details: The Filipino American Symphony Orchestra (FASO) is pleased to announce its International Orchestral Composition Competition for student composers. This competition is dedicated to the promotion of Philippine folk music and was established in honor of FASO’s 10th anniversary. All participants must submit an original composition for full orchestra (no vocals) that incorporates a theme(s) from any Philippine folk song(s). The composition must be between 3 and 5 minutes.

A distinguished panel of judges will select a winner, who will be awarded a $1000 prize. The second place winner will receive a prize of $500. The winning piece will have its world premiere at FASO’s 10th anniversary concert in Los Angeles in November 2018.

Composition scores, demo recordings and application form are due July 31, 2018 at 11:55 p.m. PST. Demo recordings and composition scores should be submitted via email to See below for more details on submission logistics.
The following is a list of competition rules and requirements. The application form can found here and at the bottom of this page.

Rules and Requirements
• This international competition is open to composers of all nationalities registered in a college, university or film school as of 2018.
• Multiple composers may collaborate on one competition entry as long as each composer satisfies the previous requirement above.
• The composition may not have vocals.
• The composition should not have been commercially released, posted publicly on content-sharing websites (e.g., YouTube, SoundCloud, Vimeo etc.) or performed in public as of the deadline. A composition will not be accepted if it has won first prize in another competition(s). Compositions that originated as school projects or that have been performed in school recitals may be submitted.
• The composition must use standard symphonic orchestra instrumentation. For your reference, FASO has the following instrumentation: 2+picc, 2d1, 2+bass, 2 – 3, 3, 3, 1, timp, perc, hp, str.* You may include Philippine instruments (e.g., kulintang, angklung, rondalla instruments, etc.), but it is not required.
• The composition must incorporate theme(s) from any Philippine folk song(s). Clarification on what we mean: Of course, Philippine folk songs with established melodies already exist. The composition component in this competition is the arrangement of those melodies. There are many opportunities to be innovative and creative in the composition process. The composition may be in any style, genre or form. Some examples:
• A straightforward orchestration of a folk song melody
• Medley of themes
• Variations of a theme
• Mashup of multiple themes
• The composition’s score in PDF format and a demo recording in MP3 format must be emailed to on the same day that the online application form is submitted. You may use one or a combination of the following for the demo recording: live instrument performance, MIDI mockup, synthesizer, playback from notation software (e.g., Finale, Sibelius etc.). Keep in mind that the quality of the demo recording will have no impact on the evaluation of the composition. The duration of the recording must be between 3 and 5 minutes.
• The participant must submit an application fee of $15. Fee payments can be made online on the application form. Credit card and PayPal are accepted.

Judging Criteria
A distinguished panel of judges will score and judge competition entries according to criteria provided below.

Creativity (40%)
Creative use of music composition elements including, but not limited to form, genre, groove/feel, melody, counterpoint, harmony, rhythm and textures.

Orchestration (40%)
• Instrument parts are in playable range and are readable for college-level and professional musicians
• Lines and harmonies are effectively orchestrated
• Effective use of dynamics and articulation
• Effective utilization of the orchestra families
• Effective focus, balance and separation between multiple layers

Impact (20%)
• The composition is identifiable as Philippine folk music in an orchestral setting
• All audiences can relate to the piece (via subjective assessment by the judges)
Questions? Email


 Hillcrest Wind Ensemble
Summary:International Composition Contest with Two Divisions
Deadline: 05 November 2018
Date Posted: 15 March 2018
Details: Hillcrest Wind Ensemble’s
Call for Scores Rules

1. All styles of music will be considered. All compositions must be original works for wind ensemble (composer’s transcriptions are okay) and have NOT been previously published or performed. The Hillcrest Wind Ensemble’s (HWE) performance of the piece will be the “World Premiere Performance”. (No self-published works will be accepted - publish your work after our performance of the piece in April of 2019).
2. Entrants: The Call for Scores contest is open to any age, nationality, or experience level. NO members or family members of the HWE may enter.
3. Judges: The judges evaluating your work are music professionals including performance majors, music educators, composers, and arrangers.
4. Scoring is to be for our Wind Ensemble:
- 6 Flutes (up to 3 piccolos)
- 2 Oboes
- 2 Bassoons
- 1 Eb clarinet
- 6 Bb clarinets
- 1 Eb Alto or Eb Contralto Clarinet
- 1 Bass Clarinet
- 2 Alto Saxophones
- 1 Tenor Saxophone
- 1 Baritone Saxophone
- 5 Cornets/Trumpets
- 4 French Horns
- 3 Trombones
- 2 Euphoniums/Baritones
- 2 Tubas
- 1 String Bass
- 1 Timpani
- 1 Mallet percussionist
- 3 percussionists
Do NOT include English Horn, Soprano Sax, Harp, etc. They are NOT available.
We have limited technology for electronics. If you include electronics, it should be easily accessible.
Vocals are permissible from solo voice up to 4 part SATB.
Entries not meeting the instrumentation detailed above will NOT be considered.
5. Duration: Preference is given to works between 4-10 minutes (shorter and longer pieces have won in the past; this is just a preference).
6. Entry Fee(s): The entry fee to the Call for Scores is $20 USD per submission. All entry fees will be submitted through The San Diego LGBT Community Center’s (The Center) donation portal. Click here to pay your fee electronically. (IMPORTANT: On The Center’s donation page, please select “Hillcrest Wind Ensemble” in the “Program” pull down menu in the “Donor Information” section to ensure that your entry fee is credited to the ensemble.) Your entry fee is tax deductible. Submit the “Tracking Code” from The Center’s Emailed receipt with your score and composer information sheet (detailed below).
7. Difficulty: Pieces should be for medium to advanced players - Grade 3 to 5.
8. Suitability: If, in the opinion of the judges, no entry is deemed worthy of a prize, none shall be awarded.
9. Deadline for submissions: End of day, November 5th, 2018
10. Notification: The winning entries will be announced in December of 2018. Winning entrants are expected to be available for questions and cooperative with the Ensemble’s artistic director through the rehearsal season up to the performance of the piece in our Spring 2019 concert (late March or April).
11. Parts for the winning entries will be needed by January 4th, 2019.
12. Performance Rights: By entering the contest, the winners acknowledge and grant a non-exclusive perpetual license to HWE to perform and record all or a portion of their work created for the HWE Composition Contest. Winning compositions will remain in the HWE music library for future performance beyond the premiere concert date. Recordings, either audio or video, may be placed on YouTube and other social media accounts. The winners retain their copyright of the piece and may publish the piece any time after the HWE world premiere performance date.

Awards: There will be two cash awards: 1st place of $500 and 2nd place of$250. Winning pieces will be performed at the HWE Spring Concert in 2019.

What to Submit: (Only electronic submissions will be accepted)
A. Score: A PDF of the score formatted for 8.5” x 14” printing. No handwritten scores or parts will be accepted. Judging will be anonymous. Do NOT put your name on the score.
B. Composer Information: We require all of the following information:
1) Composer Name
2) Complete Mailing Address
3) Telephone Number
4) Email address
C. Recording: Live (non-concert performance) or MIDI sound file is okay. Recordings must be MP3 format, up to 6MB only.
D. Entry Fee: The entry fee is $20 USD per submission. All entry fees will be submitted through The San Diego LGBT Community Center’s (The Center) donation portal. Submit the “Tracking Code” in Email with composer information, score, and recording. Click here to pay your fee electronically. (IMPORTANT: On The Center’s donation page, please select “Hillcrest Wind Ensemble” in the “Program” pull down menu in the “Donor Information” section to ensure that your entry fee is credited to the ensemble.)

All Submissions and Communications regarding the contest will be sent to the Composition Contest Coordinator here:


Prospectus- 2018 Composition Contest - Youth Division
Hillcrest Wind Ensemble’s
Quest for Fresh Music Rules
(Ages 12-18, Middle/Junior and High School)

1. All styles of music will be considered. All compositions must be original works for wind ensemble (composer’s transcriptions are okay) and have NOT been previously published or performed. The Hillcrest Wind Ensemble’s (HWE) performance of the piece will be the “World Premiere Performance”. (No self-published works will be accepted - publish your work after our performance of the piece, in April of 2019).
2. Entrants: The Quest for Fresh Music will be residents of the United States, aged 12-18, and in Middle/Junior or High School in 2018. NO members or family members of the HWE may enter.
3. All entrants MUST submit a short “Letter of Recommendation” from their music teacher or private instructor.
4. Judges: The judges evaluating your work are music professionals including performance majors, music educators, composers, and arrangers.
5. Scoring is to be for our Wind Ensemble:
- 6 Flutes (up to 3 piccolos)
- 2 Oboes
- 2 Bassoons
- 1 Eb clarinet
- 6 Bb clarinets
- 1 Eb Alto or Eb Contralto Clarinet
- 1 Bass Clarinet
- 2 Alto Saxophones
- 1 Tenor Saxophone
- 1 Baritone Saxophone
- 5 Cornets/Trumpets
- 4 French Horns
- 3 Trombones
- 2 Euphoniums/Baritones
- 2 Tubas
- 1 String Bass
- 1 Timpani
- 1 Mallet percussionist
- 3 percussionists
Do NOT include English Horn, Soprano Sax, Harp, etc. They are NOT available.
We have limited technology for electronics. If you include electronics, it should be easily accessible.
No vocals or narration are allowed.
Entries not meeting the instrumentation detailed above will NOT be considered.
6. Duration: Preference is given to works between 3-5 minutes.
7. Entry Fee: There is NO entry fee for submission to the Quest for Fresh Music contest. Only 1 entry is permitted per contestant.
8. Difficulty: Pieces should be for medium easy to advanced players - Grade 2 or higher.
9. Suitability: If, in the opinion of the judges, no entry is deemed worthy of a prize, none shall be awarded.
10. Deadline for submissions: By end of day November 5th, 2018
11. Notification: The winning entries will be announced in December of 2018. Winning entrants are expected to be available for questions and cooperative with the Ensemble’s artistic director through the rehearsal season up to the performance of the piece in our Spring 2019 concert (late March or April).
12. Parts for the winning entries will be needed by January 4th, 2019.
13. Performance Rights: By entering the contest, the winners acknowledge and grant a non-exclusive perpetual license to HWE to perform and record all or a portion of their work created for the HWE Composition Contest. Winning compositions will remain in the HWE music library for future performance beyond the premiere concert date. Recordings, either audio or video, may be placed on YouTube and other social media accounts. The winners retain their copyright of the piece and may publish the piece any time after the HWE world premiere performance date.

Awards: Up to three selected winners will receive a letter of congratulations and certificate of achievement. No monetary award is offered.

What to Submit: (Only electronic submissions will be accepted)
A. Score: A PDF of the score formatted for 8.5” x 14” printing. No handwritten scores or parts will be accepted. Judging will be anonymous. Do NOT put your name on the score.
B. Composer Information, we require the following:
1) Composer Name and Parent/Guardian Name
2) Complete Mailing Address
3) Telephone Number - Composer and Parent/Guardian
4) Email address - Composer and Parent/Guardian
C. Recording: Live (non-concert performance) or MIDI sound file is okay. Recordings must be MP3 format, up to 6MB only.
D. Signed Letter of Recommendation: scan and submit in PDF format.

All Submissions and Communications regarding the contest will be sent to the Composition Contest Coordinator here:

 2018 Third Coast Trombone Retreat Call for Scores
Summary:Trombone trio call
Deadline: 01 May 2018
Date Posted: 15 March 2018
Details: The Third Coast Trombone Retreat is an annual summer festival welcoming talented trombonists from across the world to the shores of Lake Michigan. Exposing participants to the music of our time is central to the Retreat’s mission. Trombone ensembles have a powerful and moving aesthetic with vast capabilities of dynamic contrast and vocal-like expressiveness. Winning pieces will be performed by:

James Nova, Second Trombone, Pittsburgh Symphony
John Sebastian Vera, Principal Trombone, Pittsburgh Opera and River City Brass
Nicholas Schwartz, Principal Bass Trombone, New York City Ballet and current acting bass trombone of the Metropolitan Opera Orchestra

The performance will be live-streamed during the festival occurring June 1-8, 2018, recorded and video taped in high quality and shared via all social media platforms.

Please email the following to with “2018 Scores” as the subject line.
· PDF of the score and parts
· Audio recording of the work (file or link) or midi recording
· Please include name and phone number in email.

-Works accepted for trombone trio. Traditionally in tenor-tenor-bass configuration but also would consider alto-tenor-bass. Tenor-bass-contra bass could also be a fun possibility.
-Single or multi-movement works no longer than 9 minutes.
-Preference given to unperformed works though all submissions welcome.
-Multiple submissions accepted.
-All styles encouraged.

There are no application fees, nationality restrictions or age limits for score submission. Deadline is May 1, 2018.


 Summer Sinfonia
Summary:Chamber Call for Scores
Deadline: 01 June 2018
Date Posted: 15 March 2018
Details: Get your music performed and recorded by live musicians.

The Summer Sinfonia is a chamber ensemble of auditioned amateur adult musicians challenging themselves to connect local communities with specially-written repertoire.

So let's get to it!

Deadline: June 1, 2018
Application fee: None

The Dunedin Music Society seeks original chamber music inspired by historical heroes

The selected works will be performed August 2018 in Dunedin, Florida by the Summer Sinfonia, a chamber ensemble of auditioned amateur adult musicians challenging themselves to connect local communities with specially-written repertoire. The live performance will be recorded without restrictions of use by the Composer.

Any composer who has already graduated from an accredited higher education institution with a composition major focus.

Scores should accommodate all or any combination of the following (preference given to all seven performers being included) but not require electricity (sound production or amplification):
Advanced Players:
1. Flute/ Oboe/ Bb Clarinet/ Alto Saxophone
Proficient Players:
2. Eb Clarinet/ Bb Clarinet
3. Piccolo/ Flute/ Bb Clarinet
4. French Horn
Beginner Players:
5. Oboe
6. Flute
7. Piano

Performers did not audition if they submitted proof of passing within the last seven years one of the credentials listed below from either Trinity College London or ABRSM examination programs:

Grade 3 (Beginner)
Grade 5 (Proficient)
Grade 7 (Advanced)

or a bachelor’s or master’s degree with a performance major (Expert) from any accredited higher education institution in the USA.

Submission Process
Complete the online submission form.

Multiple entries are welcome, but each composition will require its own submission form.

If you have any questions, please contact us.


 One Thirteen Composers' Collective
Summary:Competition with 3 categories
Deadline: 30 April 2018
Date Posted: 08 March 2018
Details: 113 is accepting scores for the 2018-19 concert season. Selected scores may be programmed at any point during the season. Composers who are accepted are encouraged (but not required) to attend the concert(s) featuring their work. Composers of any age or nationality may apply. We are accepting scores in three categories:

1. Works for 1-4 instruments, including any combination of flute, clarinet, double bass, and percussion (1 performer)

2. Works for 1-5 members of TAK Ensemble (, including any combination of flute, clarinet, soprano, violin and percussion (1 performer)

3. Works for Zeitgeist New Music Ensemble ( piano, clarinet/saxophone (1 performer), and percussion (2 performers)

Submissions may include electronics and/or improvisation.

Composers may submit multiple scores, but please note that there is a $ 5.00 fee for each score submission. Scores should be submitted electronically to with the subject heading, “113 Call for Scores.”


1. Your Name
2. Title of the Work
3. Instrumentation
4. Duration
5. PDF of the score
6. Link to an MP3 recording (if available).
7. Paypal Receipt

 2018 North American Student Composer Competition
Summary:Wind Band Competition
Deadline: 15 December 2018
Date Posted: 08 March 2018
Details: 1. Overview
The Metropolitan Wind Symphony, also known as MetWinds, is announcing its third North American Student Composer Competition. The goals of this Competition are to stimulate student composers to write new, high-quality music for the wind band, and motivate highly talented student composers to persist in building a career in composition by rewarding them with recognition, commission, and performance.

1.1. Rules for Entries
To be eligible to compete, the entrant must be a music school, high school or college student in North America at the time of the submission. "College" will be interpreted to mean junior college, four year college, conservatory, or graduate school.

Students must submit a short biography/resume, and a score and recording of a single work, written for any combination of instruments and/or voices, up to fifteen minutes in length, on compact disk or in a computer file which can be emailed to us at If longer pieces are submitted, only the first fifteen minutes will be evaluated. Recordings may be either live performances or computer-generated. If they are playable on a Windows personal computer, they are acceptable. Submissions will be returned at the end of their evaluation if accompanied by a stamped self-addressed envelope.

1.2. Submission Information
The deadline for submission will be Dec. 15, 2018. Receipt of the submission will be acknowledged by email if an email address is provided. Submissions will be evaluated by the MetWinds commissioning committee, with final determination of the winner to be made by the Artistic Director. Announcement of the winner will be made by April 1, 2019. The winner of the competition will be awarded a $1,000 commission, to write a new four to eight minute work for full concert band, with instrumentation and approximate grade level to be specified by MetWinds.

1.3. Premiere, Award, and Publication Details
The work is expected to be premiered by the MetWinds in November 2020 or thereafter, hopefully with the composer in attendance at the dress rehearsal and premiere. The intention is for this commissioned piece and its premiere to help celebrate the 50th season of MetWinds, September 2020- July 2021. Transportation, meals, and lodging will be provided for the composer. The winning composer will provide three scores and one set of parts to MetWinds. $300 of the commissioning fee will be due the composer at the time of the award being made and the remaining $700 will be paid upon delivery of the score and parts to MetWinds. The composer will grant MetWinds the right to premiere the work but will retain ownership of the work.

1.4. EntrySubmission

Email entries to Bobby Piankian, or Mail entries to:

MetWinds Student Composer Competition c/o Bob Piankian
9 Surrey Road
Newton, MA 02458

Questions? Email Bobby Piankian at

 Harp Composition Contest Online Fidelio
Summary:Harp competition
Deadline: 28 April 2018
Date Posted: 08 March 2018
Details: Welcome to "First Harp Composition Contest Online Fidelio"

Participate from home, it's simple, sign and send your audio file of your own harp composition:

In this competition the contestants choose the winners through a voting system published on this website.


April 28, 2018

Copyright: Fidelio 2018

Colmenarejo (Madrid) Spain


See here for full details:
Web Site:concursodecomposicionparaarpaf...

 37th IAWM Search for New Music by Women Composers 2018 Competition Guidelines
Summary:Competition with 8 categories (women composers)
Deadline: 30 April 2018
Date Posted: 08 March 2018
Details: Receipt deadline: April 30, 2018

Submit via NewMusicEngine
The International Alliance of Women in Music (IAWM) announces its annual “Search for New Music by Women Composers” competition. Membership in IAWM is required, but contestants may join at the time of entry. This call is open to IAWM members who identify as women.

Ruth Anderson Commission Prize ($1,000)
Commission for a new sound installation with electro-acoustic music.
To apply, submit a detailed proposal of the sound installation. The project should be an ongoing installation and not require a performance to be successful. The project must be completed within 12 months of notification of the award. The winner will receive the award money after submitting a report to IAWM following the public showing of the completed installation. Location of the installation may be, but is not restricted to, an IAWM annual concert or congress.

Christine Clark/Theodore Front Prize ($500)
(minimum age – twenty-two) Large chamber and orchestral works
Sponsored by Christine Clark of Theodore Front Musical Literature, Inc.

Miriam Gideon Prize ($500)
(minimum age – fifty) Works for solo voice and one to five instruments.
Sponsored by Lucille Field Goodman.

Libby Larsen Prize ($300)
(must be currently enrolled in school) Works for any medium.
Sponsored by Dr. Larsen.

PDX Prize ($300)
Jazz compositions of any duration for small ensemble to big band (4-17 instruments)

PatsyLu Prize ($500)
(for Black women and/or lesbians) Classical art music in any form or instrumentation.
Sponsored by Patsy Rogers and Lucille Field Goodman.

Alex Shapiro Prize ($500 and mentorship/consultation from Alex Shapiro)
Works of any duration for large ensemble wind band requiring a conductor, with or without soloist, acoustic or electroacoustic, published or as yet unpublished.
Sponsored by Alex Shapiro.

Judith Lang Zaimont Prize ($400)
(minimum age – thirty) Extended instrumental compositions—large solo or chamber works—by a composer whose music has not yet been commercially recorded or published.
Sponsored by Professor Zaimont.
Each prize category has its own monetary award as indicated.

One entry: A composer may submit only one (1) piece in any given year in only one (1) chosen category. Please do not send more than one composition total.
Membership: Current membership in IAWM is required for submission. The competition is open to all IAWM Members who identify as women. If your membership is not current at time of submission, the work will be disqualified. Please note that membership is for the calendar year: January 1-December 31, and you may need to renew for 2018. See the IAWM website for membership information and payments:

Anonymous Submissions: Please upload an anonymous PDF file of the score and an anonymous MP3 sound file of the work. If a recording of a performance/reading is not available, MP3 files of MIDI realizations are acceptable. The score may not contain any identifying information. For the Ruth Anderson Prize only, please upload your anonymous proposal as a PDF file in the score upload area and leave the recording upload area empty. For all categories, please provide a short biography (maximum 200 words).

Unpublished works: For all categories, except the Alex Shapiro Prize, the work submitted must be unpublished by a major publishing house and must have won no prior awards at the time of entry in the competition. Self-published works are allowed. For the Zaimont Prize, the work must also have no plans to be professionally recorded when it is submitted.

Restriction for previous winners: Winners of previous SNM Awards cannot apply for two years subsequent to their award. For 2018, this includes winners of the 2016 and 2017 competitions. There is no restriction on submissions from those who received honorable mentions.

IAWM reserves the right to withhold an award, should the judging panel so recommend.

Submission Calendar
The submission period begins March 1, 2018.

Deadline for receipt of materials is April 30, 2018

Winners will be announced by August 30, 2018. The IAWM website will have a complete list of winners shortly after the announcement date. A press release with biographical information on all the winners will be distributed.

Questions: Send questions to the chair of the SNM Competition, Ingrid Stölzel, at

 Call for Works: Electronic Miniatures for Film
Summary:Call for Electronic Music
Deadline: 15 May 2018
Date Posted: 01 March 2018
Details: Submission Deadline: 15 May 2018

IMD would like to invite composers, sound artists and electronic music producers to participate in a project on the Cinemascope Trilogy by Austrian avant-garde filmmaker Peter Tscherkassky.

For his two-minute film L’Arrivée ( we are seeking for new electronic pieces, remixes or reworkings of the existing soundtrack, or other forms of two-minute responses: Interested artists should e-mail to register their interest in the project and in order to be given access to a demo film file (.mov).

The deadline for submissions is 15 May 2018.

There are no aesthetic criteria for this submission. Interested artists can but do not have to be enrolled for the Darmstadt Summer Course 2018.
For the other two films of Peter Tscherkassky’s Cinemascope Trilogy – Outer Space and Dreamwork – IMD has commissioned new compositions for Ensemble Nikel by composers Clara Iannotta and Simon Løffler. If possible, we would like to present 2 or 3 chosen electronic miniatures for L’Arrivée in the same concert on 20 July 2018.

Submissions should take the following form:

– A soundtrack / remix / response of the exact duration of the film in uncompressed audio format and synchronized with the film (.mov). All works should be stereo.
– A short text (150 words maximum) detailing the contextual or conceptual framework for your approach.
– A short bio (150 words maximum), including full name, contact details, website address.
For the showing the film will be available in DCP 2k, 1:2,35, 2.0 sound or in Apple ProRes HQ stereo.

Please e-mail all documents (large files via Wetransfer or other) by 15 May February 2018 to:

Please see:
Website Peter Tscherkassky (German / English)


Video documentaries of Peter Tscherkassky’s working process:

Still from "L'Arrivée" by Peter Tscherkassky
Web Site:www.internationales-musikinsti...

 Jazz Composition Competition – In commemoration of the end of WW1
Summary:Jazz competition
Deadline: 15 June 2018
Date Posted: 01 March 2018
Details: For 16-18 year olds living or attending school/college in Hampshire

‘2018 – commemorating the centenary of the end of WW1’

This project provides a fantastic opportunity for young composers aged 16 – 19 to compose a piece of music inspired by one of the most memorable images of WW1. Compositions should be between 3 – 6 minutes long and be created in a jazz idiom for any combination of instruments, up to a maximum of 6.

A score and demo recording (which can be computer generated) needs to be submitted by 15 June 2018 to a panel of experts and there will be a cash prize for the selected composition plus the opportunity to hear your piece performed live at a venue in Winchester*

Do you remember 'Blood Swept Lands and Seas of Red ' the installation of ceramic poppies at the Tower of London in 2014. It was inspired by the first line of a poem by an unknown WW1 soldier and was viewed by over 50,000 people.

This competition invites you is to respond musically not to a poem but to a painting. 'We are Making a New World' (Imperial War Museum ART 1146) is one of the most memorable images of WW1 - it was painted from sketches made at the front by a young and newly married war artist called Paul Nash. You are invited to create a piece of jazz music inspired by this painting &/ the words from the letter to his wife, which could be used as a narrative or vocal line to add drama to your work.

You can use any combination of instruments but please be aware that a public performance can only be given if an appropriate ensemble of players is available. Compositions should be between 3 – 6 minutes long.

Your Inspiration (painting and letter):
We are Making a New World, Paul Nash

Imperial War Museum link to the painting

Many of Nash's fellow officers had been slaughtered on the infamous Hill 60. He was at Passchendaele which saw the first use of mustard gas by the enemy and was witness to the total brutality of war. The title 'We are Making a New World' mocks the ambitions of the war and what might be described now as the 'fake news' that was presented to the public .He set out to show 'the bitter truth ' as he saw it. The painting shows a desolate landscape studded with potholes from shells and shattered trees, devoid of men, animals, weapons or action…

16 November 1917 Nash writes an impassioned letter to his wife which explains his motivation for the painting……..

'I have seen the most frightful nightmare of a country more by Dante or Poe than by nature, unspeakable, utterly indescribable. In the fifteen drawings I have made I may give you some vague ideas of the horror, but only being in it can ever make you sensible of its dreadful nature and what our men in France have to face.

We all have a vague notion of the terrors of battle....but no pen or drawing can convey this country- the normal settings of the battles taking place day and night, month after month. Evil and the incarnate fiend alone can be master of this war, and no glimmer of God's hand is seen anywhere. Sunset and sunrise are blasphemous, they are mockeries to man, only the black rain out of the bruised and swollen clouds all through the bitter black of night is fit atmosphere in such a land. The rain drives on, the stinking mud becomes more evilly yellow, the shell holes fill up with green-white water, the roads and tracks are covered in inches of slime, the black dying trees ooze and sweat and the shells never cease. They alone plunge overhead, tearing away the rotten tree stumps, breaking the plank roads, striking down horses and mules, annihilating, maiming, maddening, they plunge into the grave which is this land; one huge grave and cast up on it the poor dead.

It is unspeakable, godless, hopeless.

I am no longer an artist interested and curious, I am a messenger who will bring back word from the men who are fighting to those who want the war to go on forever. Feeble, inarticulate, will be my message, but it will have a bitter truth, and may it burn their lousy souls.'

Ref Paul Nash to Margaret Nash 16 November 1917 ' Outline' pp210-11, (Nash's autobiography)

Any queries, please contact

 Wilde Lieder - Marx.Music
Summary:International call for scores
Deadline: 29 June 2018
Date Posted: 01 March 2018
Details: Karl Marx 200
Karl Marx was born in Trier on 5 May 1818. He became a journalist, editing the Rheinische Zeitung in Cologne, which was prohibited by the Prussian censor. Marx and his wife Jenny were forced to leave the country, and he spent the rest of his life in London as a refugee, without nationality or passport.

He synthesised economic and philosophical thinking and how they determine our whole way of life. He foresaw how inequality of ownership leads inexorably to an inescapable cycle of crises, to globalisation, and to alienation from work. In partnership with Friedrich Engels he wrote the Communist Manifesto, intended to support workers’ movements on an international scale. Enlightening the proletariat about their situation, they felt, would provoke action to gain control over the means of production, finally facilitating truly free work. Karl Marx died in 1883, long before working people anywhere in the world acquired power or states were founded, supposedly, based on his studies.

As a student, Marx published his own poems in a collection entitled Wilde Lieder (wild songs); later, he hardly ever wrote about aesthetics, but generations of artists would engage with how they could contribute to the advance of society. Could music describe his findings? Can it engage with today’s needs?

International Call for Scores
On the bicentenary of his birth, we invite contributions to commemorate Marx’s legacy through music: choose a quote from Marx’s writings to set to music, capture some essence, reflect on his life and work, their consequences, or their future development. Please visit for full details.

Prizes will be awarded in three categories:

1. Ensemble of up to six instruments (fl, cl/bcl, pi, perc, vl, vcl) with or without soprano or ensemble of up to fourteen instruments (fl, ob, cl/bcl, bsn, hrn, trp, trb, pi, perc, 11111) with or without baritone, maximum duration 12 minutes
2. Duo of soprano or baritone and one instrument (fl, cl/bcl, trp, perc, vl, vcl), maximum duration 8 minutes
3. Sound art / radiophonic composition: stereophonic, for broadcast on hr2-kultur (Hessischer Rundfunk – Radio Frankfurt, public service radio) and at public performances and installations, maximum duration 10 minutes.
World premieres will be given on 1 and 2 September 2018 in Trier, and UK premieres in Birmingham.

Conditions of entry
The jury may at their discretion distribute the prize money otherwise depending on the distribution of submissions; their decision is final and not subject to legal recourse.

Prizewinners must be present at the first performance of their works, and are obliged to supply all the necessary materials for performance in the event of their work being selected no more than seven days after being notified of selection, currently scheduled for the third week in July 2018. By accepting the prize money the artist consents to his/her radiophonic soundart piece being broadcast by hr2–kultur (Hessischer Rundfunk–Radio Frankfurt) in any area and for an unlimited period; the association also retains the right to play the work during its public events without being liable to pay a composer’s fee (performances will be, registered with the respective performing rights societies, e.g. GEMA).

How to enter
Works must be submitted anonymously (identified only by a number corresponding to that on an envelope containing the name, address, telephone number and email address along with a CV and photograph of the composer) and in TRIPLICATE, by postal mail and in digital form, by 29 June 2018, 09.00am (British Summer Time UTC+1) at the latest to:

Birmingham Contemporary Music Group
CBSO Centre
Berkley Street
B1 2LF
United Kingdom

Please mark your envelope: Marx Call for Scores

Digital submissions should be sent to:


 International Percussion Institute
Summary:Percussion solo call
Deadline: 07 May 2018
Date Posted: 01 March 2018
Details: Works for solo marimba (5–10 minutes)

Submission Guidelines
• Please accompany submissions with name and contact information.
• Score submissions should be in PDF format and labeled (LastName_FirstName_TitleofPiece).
• Audio renderings or recordings of submissions are highly encouraged.
• Acceptable audio formats include midi, WAV, and MP3 files, not to exceed 25mb. WAV and MP3 are preferred.
• Compositions must be previously un-published.
• IPI reserves the right not to award a winning composition based on the consensus of the panel.

Submit scores and audio files by May 7th, 2018 to along with $25 submission fee. Winners will be notified via email by May 11th, 2018. Address any questions to

1st prize
• Cash prize: 360£, 400€, $500
• Live Performance at the IPI 2018 Seminar in Aberdeen, Scotland
• Audio and Video Recording
2nd prize
• Recognition of composer and work throughout IPI website and social media channels
• IPI swag bag
3rd prize
• Recognition of composer and work throughout IPI website and social media channels

Call for Scores Submission Fee


 The NED Ensemble announces THREE Call for Scores for the 2018
Summary:Three calls
Deadline: 13 May 2018
Date Posted: 01 March 2018
Details: 1) Ensemble from 1 to 5 instruments 2) Violin and piano
3) String orchestra and timpani

The NED Ensemble, during its 11th Contemporary Music Festival "Tra passato, presente e futuro" ("Between Past, Present and Future"), announces three "Call for scores" to find new compositions to be included in the 11th Contemporary Music Festival, scheduled in May 2018 in the concert hall "Andrea Celesti", located in Desenzano del Garda (Italy).

Call for Scores is open to composers of all nationalities, with no age limit.

Compositions of any style and aesthetics can participate, till 10 minutes length. It is not permitted to use any type of electronic and/or amplification

The submitted compositions can be unexecuted or already carried out in public, even the scores already bound with publishing contracts can participate in the "Call for Scores"

1) Call for scores - Ensemble Deadline at 23:59 on 22 April 2018
The scores (maximum two for each candidate) will have to be written for an organic from 1 to 5 instruments included between: flute, clarinet (in A, Bb and basso) violin, cello piano
Three pieces will be selected and performed as part of the 11th Festival of NED Ensemble

2) Call for scores - Violin and piano Deadline at 23:59 on 27 April 2018
The scores (one for each candidate) will have to be written for violin and piano and will be performed by duo Marcel Frumasachi (violin) and Alexandra Stradella (piano), soloists of the NED Ensemble.
Three pieces will be selected and performed as part of the 11th Festival of NED Ensemble

3) Call for scores - String orchestra and timpani Deadline at 23:59 on 13 May 2018
The scores (one for each candidate) will have to be written for string orchestra, with or without timpani (max subdivision of strings: 2, 2, 2, 2, 1)
Two pieces will be selected and performed as part of the 11th Festival of NED Ensemble

International call for scores
To participate in the Call for scores you must submit the following documentation to:

1. copy of an identity document;
2. scores in pdf or permanent download link;
3. brief biography (up to 500 characters in Italian or English) also containing the following sentence for privacy: I authorize the processing of my personal data pursuant to Legislative Decree 30 June 2003, n. 196 "Code regarding the protection of personal data";
4. brief presentation of the piece/s (max 300 characters in Italian or English)
5. Transfer receipt with the following amount

• € 30,00 Call for Scores - violin and piano
• € 30,00 Call for Scores - ensemble
• € 40,00 Call for Scores - string orchestra and timpani

 Trumpetoon – Call for Scores
Summary:Trio call
Deadline: 01 December 2018
Date Posted: 01 March 2018
Details: Trumpetoon – Call for Scores for B-flat Trumpet and Bassoon Duo
Entry Deadline: December 1, 2018 (winners will be notified by December 31, 2018)
Entry Fee: $5 for each piece submitted (up to 2 pieces, this goes to the prize!)
Eligibility: All adult U.S. citizens (18 or older)
Prize: $75, and a recording on the Minute of Music Project YouTube Channel.
Performers: Jason Taurins (B-flat trumpet) and Quinn O’Donnell (Bassoon)

Submission Link Below (please read the rules first)!

Up to 2 entries per person. Send in your best work!
Entrant must be at least 18 when submission is completed.
Entrant must reside in and be a legal citizen of the United States.
Entry must be for B-flat trumpet and bassoon duo (with no other 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, 2018.
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 “ditto.”

One winner will be selected, and awarded the monetary prize. Up to 3 honorable mentions may be selected as well.

Composers reserve their copyright and recording rights.
Mr. Taurins and Mrs. O’Donnell reserve the sole right to accept or reject submissions.
Mr. Taurins and Mrs. O’Donnell reserve the sole right to judge submissions.
All judgement decisions will be made by Mr. Taurins and Mrs. O’Donnell and are final, without the ability to appeal.
Mr. Taurins and Mrs. O’Donnell reserve the right to decline any and all submissions.
Mr. Taurins and Mrs. O’Donnell will pay no license or rental fees for the music.
Mr. Taurins and Mrs. O’Donnell will perform selected entries and record them on YouTube. By submitting your piece, you agree to allow Mr. Taurins and Mrs. O’Donnell to record your entry free of charge.
Selected pieces will be announced here and composers will be notified via email by December 31.
Your submission will only be complete and recognized when the payment is received.
All payments are non-refundable. Payments are not tax-deductible.
By submitting your piece, you agree to the terms listed here.

 Music Gardens Foundation
Summary:Summer Course for Composers
Deadline: 31 May 2018
Date Posted: 22 February 2018
Details: The Music Gardens Foundation is pleased to invite young composers (no age limit!) from all over the world to participate in the 2018 edition of the International Summer Course for Composers SYNTHETIS, which will be held in Radziejowice (near Warsaw, Poland) between July 29 and August 10, 2018.

The participants of this year’s edition of the Course will have an opportunity to attend lectures and individual meetings with such renowned composers as Chen Yi (China/USA), Brigitte Muntendorf (Austria), Ondřej Adámek (Czech Republic) and Johannes Kreidler (Germany), as well as the Course’s artists-in-residence: members of the E-MEX Ensemble (Germany). At the SYNTHETIS 2018 final concert, these talented artists will perform some of the works composed during the Course.

Traditionally, the SYNTHETIS events will be held at the Radziejowice Palace - a beautiful complex situated 50 km from Warsaw. The venue, surrounded by a picturesque landscape and originally dating back to the 17th century, thanks to its unique atmosphere has become a work facility for artists, writers, musicians and painters. Its intimate character provides excellent conditions to cre- ate both highly cooperative environment and creativity-enhancing atmosphere.

SYNTHETIS, created and directed by Zygmunt Krauze, is a successful reactivation of the le- gendary composition courses initiated in 1980 by the Polish Society for Contemporary Music. The key objective of the Course is to allow each and every participant not only to develop his or her artistic skills, but also to work in an environment where exchange of experience is essential.

Deadline for application is May 31.

More information and on-line application form available at: We would appreciate the distribution of the information about the Course.

Best regards,
Organizers of SYNTHETIS 2018 —

Facebook: Composition Course Synthetis
 The Course is co-financed by the Ministry of Culture and National Heritage of the Republic of Poland.

 Concorso Smareglia
Summary:Competition with 2 categories
Deadline: 31 May 2018
Date Posted: 22 February 2018
Details: 1. The Accademia di Studi Pianistici «Antonio Ricci» of Udine, in collaboration with the Casa Musicale Sonzogno of Milan, the Archivio Smaregliano of Udine, the Teatro Nuovo “Giovanni da Udine” and the Conservatorio Statale di Musica Jacopo Tomadini of Udine and with the sponsorship of the Regional Council of Friuli Venice Giulia, Udine Town Council, the Fondazione Friuli, the Fondazione Carigo and the Società Filologica Friulana are pleased to announce the


2. The Competition is divided into two sections as follows:

Section A: compositions for solo piano of between 5 and 10 minutes.

Section B: compositions for solo voice and piano of between 3 and 6 minutes.

For section B, the choice of text is at the discretion of the composer, provided that: - the text has been published (or translated) in one of the following languages: Italian, French, English, Spanish or German;
- the text is in the public domain, or the composer has requested and obtained the author’s and/or translator’s explicit permission to use the text (or the permission of his/her legal heirs and/or legal representatives, see § 7)

In the 5th edition of the competition, there is a special prize, that will be awarded to composition for solo voice and piano of between 3 and 6 minutes, with a text in the Friulan language. The choice of text is at the discretion of the composer, provided that the text is in the public domain, or the composer has requested and obtained the author’s explicit permission to use the text (or the permission of his/her legal heirs and/or legal representatives, see § 7).

The Società Filologica Friulana, patronage of the competition, can provide a selection of texts in Friulan language with a possible translation in Italian, German or English, and also audio files with reading of the texts themselves (contact to

3. The competition is open to participants of every nationality and there are no age restrictions applied. The works presented may have been performed previously but must be unpublished and not have been awarded prizes, awards or special mentions in previous competitions.

4. The Jury Commission (five members) will consist of eminent musicians of international acclaim and a representative of the Casa Musicale Sonzogno of Milan.

5. Competition entries, with all file specified in point 7, must be delivered no later than 31 May 2018, only by electronic means and in PDF format, to:

6. No entry fee is required.

7. The title and the name and the surname of the author must be evident on the frontispiece of each composition.
Every e-mail must have in attachments the following documentation in PDF format: - the particulars and contact details of the composer (including telephone number and e-mail address);

- a ID cart copy;
- a written statement, signed by the composer, affirming that the composition has not been previously published or received prior awards, prizes or special mentions in previous competitions; - written authorization signed by the author (or his/her legal heirs and/or legal representatives) permitting the use of the literary text selected, where said text is not already in the public domain; - proof of copyright clearance to publish the work in cases where the composer is contractually bound by an exclusivity agreement to a particular publisher.

Failure to comply with these requirements will result in the participant being automatically disqualified from the Competition.

8. The author of the winning work will be obliged to ensure that the score, publicity posters and all future citations of the work are accompanied by the following phrase: "Work awarded the 5th Antonio Smareglia International Competition Prize”.

9. The result of the Competition will be announced within the 30 June 2018 and the competition results will be promptly published on the official website of the Accademia Ricci.

1st Prize
The winner of the composition awarded 1st prize will receive an award of € 2.000,00*. The composition will be published by the Casa Musicale Sonzogno of Milan (see § 7) and will be performed in concert during 2018. The Casa Musicale Sonzogno will include the winning composition in its own catalogue and will undertake the drafting of the contract and the promotion of the work, the material for which must be delivered strictly in digital format and realized using the Finale software program.

2nd Prize
The composition awarded second prize will receive an award of € 1.000, 00*.

3rd Prize
The composition awarded third prize will receive an award of € 500, 00*.

SECTION B – Voice and Piano

1st Prize
The winner of the composition awarded 1st prize will receive an award of € 2.000,00*. The composition will be published by the Casa Musicale Sonzogno of Milan (see § 7) and will be performed in concert during 2018. The Casa Musicale Sonzogno will include the winning composition in its own catalogue and will undertake the drafting of the contract and the promotion of the work, the material for which must be delivered strictly in digital format and realized using the Finale software program.

2nd Prize
The composition awarded second prize will receive an award of € 1.000, 00*.

3rd Prize
The composition awarded third prize will receive an award of € 500, 00*.

The winning composition of special prize (for the use of a text in the Friulan language) will receive an award of € 800,00*.
• All prize monies are gross and therefore subject to taxation.

11. The Judges may also decide to give special mentions to compositions deemed worthy of particular merit. All winners and those receiving special mentions will receive a Diploma of merit.

12. In the event that the Jury should deem the quality of the works presented to be of an insufficient standard, one or more of the prizes may not be awarded.

13. The Competition organizers reserve the right to alter the terms and conditions of this competition announcement in the event that such changes become necessary due to Force Majeure or any circumstances beyond the organizers’ control.

14. Participation in this Competition implies the full acceptance of the terms and conditions stipulated above.

15. The decision of the Jury is final.
The official text for this competition is deemed to be that published in the Italian language. All disputes shall be subject to the jurisdiction of the Court of Udine.

16. For any further information required, candidates are advised to contact:

tel. +39.338.6648129 - e-mail:

 Snow Pond Composers Workshop
Summary:Creative development course for composers
Deadline: None
Date Posted: 22 February 2018
Details: June 10 – June 20, 2018

The Snow Pond Composers Workshop at Snow Pond Music Festival is a week of intensive input and experiences for creative growth for composers at both the graduate and undergraduate level. In addition to private lessons and Master Class sessions with faculty composers, participants will explore new imaginative territories with immersion instructional and practicum sessions on improvisation, and an array of techniques for integrating improvisation into one’s compositions. Time will be provided for on-site composing, and participants will have a short piece for violin, viola, and/or flute performed, critiqued, and recorded by Visiting Performing Artists Maya Bennardo, Hannah Levinson, and Peter H. Bloom. In addition to welcoming traditional approaches to composition, we are also receptive to composers whose work incorporates electronics, improvisation, jazz, rock, and other diverse elements into the compositional mix.

Program Highlights
• Master Class sessions and private lessons with faculty composers.
• Instructional sessions dedicated both to honing traditional compositional skills and to intensively exploring a wide range of approaches to improvisation. These include both techniques for integrating improvisation into one’s compositions and presentations on interactive computer systems for use by improvising musicians.
• Exploration of the violin, viola, and flutes (bass, alto, concert, and piccolo) through presentations, readings, and performances of short pieces by Visiting Performing Artists Maya Bennardo, Hannah Levinson, and Peter H. Bloom.
• Receptive to both traditional composition and to composers whose work incorporates electronics, improvisation, jazz, rock, and other diverse elements into the compositional mix.
• Time for composing and processing new materials and ideas.
• Intimate and supportive environment for networking with peers and professional staff.
• Affordable tuition includes lodging, meals and use of New England Music Camp’s waterfront, recreational equipment and facilities.

 One Quiet Plunge
Summary:Chamber work call with electronics
Deadline: 01 June 2018
Date Posted: 22 February 2018
Details: CALL FOR SUBMISSIONS — Commissioned Works

We are seeking landscapes, real and imagined.

One Quiet Plunge, an organization devoted to new music performance in New York’s Hudson Valley, is commissioning one to three new works on the theme of place and landscape for premiere in August 2018 on our program country/…/city/…. Blending found sounds and video footage of the landscapes of the Valley with newly commissioned works that create “imaginary landscapes” from the same material, the program will explore what place can mean to each of us.

Commissioned works will be for viola, piano, and electronics (or a subset thereof) and will be premiered by violist Christiana Reader and pianist Alex Peh. The chosen composers will be student or emerging composers of any age living or studying in the Hudson Valley (an emerging composer is defined as someone who does not have a track record of regular performances by professional ensembles). The fee for each commission is $200.

Interested composers are invited to submit any materials that give a sense of the piece you hope to compose, including prose descriptions, sketches, and (especially) recorded soundscapes or viewscapes of the landscape your piece would be reacting to. Composer should also submit 1-2 scores representative of their instrumental writing and music in general. Any aesthetic will be considered. There is no fee to submit.

Questions and submissions should be sent to and should arrive by April 1, 2018. Larger files may be sent via a file service such as WeTransfer or Dropbox. Commissioned composers will be notified by May 1, 2018.

CALL FOR SUBMISSIONS — Soundscapes/Viewscapes

We are seeking landscapes.

One Quiet Plunge, an organization devoted to new music performance in New York’s Hudson Valley, is currently building our program country/…/city/… for presentation in August 2018. Blending found sounds and video footage of the landscapes of the Valley with newly commissioned works that create “imaginary landscapes” from the same material, the program will explore what place can mean to each of us.

We are soliciting submissions of recorded soundscapes and viewscapes from around the Valley. Capture a place that is unique, that is special to you, that gives others a new perspective on what life in this area can look, sound, and feel like. Chosen works will be presented in a multimedia production alongside new pieces for viola, piano, and electronics performed by violist Christiana Reader and pianist Alex Peh.

Anyone with a connection to the Hudson Valley may submit to this call. Although submissions should be of the highest feasible quality, they need not be at a professional level; submissions made with common smartphone apps are encouraged. All video should be shot in landscape format. There is no fee to submit.

Questions and submissions should be sent to and should arrive by June 1, 2018. Larger files may be sent via a file service such as WeTransfer or Dropbox.

 MASMENOS 2018 International Composition Competition
Summary:Vocal competition with two categories
Deadline: 17 June 2018
Date Posted: 22 February 2018
Details: Composers are invited to submit works for the MASMENOS 2018 International Composition Competition. The winning works will be premiered by the “masmenos | vocal femenino” ensemble

1- The competition is open to all composers, without limitations of age or nationality.
2- The deadline for submissions is 17th June 2018.
3- The final decision of the Jury will be made public on August 2018 on the website and also will be communicated personally to the winning composers by e- mail and phone.
4- The competition is divided in two categories:
A) Works for Women Vocal Quartet (Sopran I, Sopran II, Alto I, Alto II) – Jury: Eduardo Malachevsky (Argentina), Marcos Franciosi (Argentina), Juan Manuel Brarda (Argentina) y Darío Pagliaricci (Argentina)
B) Works for:
– Women Vocal Duo:
– (Sopran I, Sopran II)
– (Sopran I, Alto I)
– (Sopran II, Alto I)
– (Sopran II, Alto II)
– (Alto I, Alto II)
– Women Vocal Trio:
– (Sopran I, Sopran II, Alto I)
– (Sopran I, Sopran II, Alto II)
– (Sopran I, Alto I, Alto II)
– (Sopran II, Alto I, Alto II)
Jury: Valeria Martinelli (Argentina), Pablo Araya (Argentina), Juan Manuel Brarda (Argentina) y Darío Pagliaricci (Argentina)
5- Each composer can send works for both categories simultaneously or not. In the case of the simultaneous participation, the composers can send only 1 (one) work for Women Vocal Quartet and 1 (one) for Women Vocal Duo or Trio. One composer can win both categories, if that is the decision of the Jury.
6- The works submitted must be new, not yet premiered or edited.
7- Works for Women Vocal Quartet should last between 5 (five) and 12 (twelve (minutes).
8- Works for Women Vocal Duo or Trio should last between 5 (five) and twelve (12) minutes.
9- The scores may be handwritten or in a computer editor. In both cases the scores must be perfectly clear and legible. Otherwise, the jury may immediately disqualify the work and its decision will be final. “masmenos – música contemporánea” program won’t be held responsible for the return of the works submitted.
10- The contest may be declared void.
11- In order to participate for each category, the composer will have to send an email to, with the following subject: MASMENOS 2018 International Composition Competition_Surname_Category_X. The e-mail must contain the following attached documents:
a) Score in PDF format signed using a pseudonym. The file must have the following specific title format: Work Title_Category_X.pdf.
b) PDF document with the following personal information: name and surname, date of birth, address, telephone number, e-mail and a brief artistic resume (200 words max.) The document must have the following title format: Surname_Name_Category_X.pdf
c) Artistic photo in JPG format (no other format will be accepted) The file must have the following title format: Surname_Name_Category_X.jpg. It must be sent as a link to a cloud service, such as Dropbox, OneDrive, GoogleDrive, etc. Links with an expiration date (WeTransfer) will not be accepted.
A separate email should be sent for each category. An email containing other files than the requested above will be void. A mp3 file (192 kbps min. resolution) with a recording of the rehearsal of the piece (please refer to item #6) can be submitted as a link to a cloud service, such as Dropbox, OneDrive, GoogleDrive, etc. Links with an expiration date (WeTransfer) will not be accepted. No MIDI files or MIDI recordings will be accepted.
12- The premiere of the winning works will be in September 2018.
13- The prize consists of the premiere and the live recording of the works the day of the concerts in Río Cuarto and Córdoba City (also the composers must authorize an audio-visual recording of the concerts and rehearsals).
14- The winner (or winners) of the competition agrees with the use by “masmenos – música contemporánea” program of their photos and artístic resume submited. Also, the recording of the works will be used with advertiste purposes. No other personal information will be made public.
15- The “masmenos-música contemporánea” program reserves the right to interpret all issues not included in the regulations and to make exceptions in special and well-justified cases. The decision of the jury and the “masmenos-música contemporánea” program will not be contested.

 Brian M. Israel PRIZE 2018
Summary:Competition 1–7 players
Deadline: 01 May 2018
Date Posted: 22 February 2018
Details: Deadline: May 1, 2018

The Society for New Music and the New York Federation of Music Clubs seek to encourage promising

New York State composers of student age or those just beginning their professional careers.

The competition is open to any composers currently living in New York State (students currently studying in New York State ARE eligible), born on or after May 1, 1988. Composers must submit music that has not previously been performed by the Society for New Music.

To honor the late composer Sam Pellman, who chaired the Israel Prize for so many years, SNM is awarding a $1000 Israel/Pellman Prize, as well as the $750 New York Federation of Music Clubs Israel Prize, both with a performance during the 2018-2019 season.

Only online submissions are accepted, through the link provided below, and must be received no later than

May 1, 2018.

1. Anonymous submission – the composer's name is not to appear anywhere on the manuscript itself, nor on any accompanying recording. A composer may submit only one work. Please identify the score by marking it with a pseudonym.
2. Online registration and submission only – go to this online form to provide required information:
3. Works should be concert music for one to seven performers, in any combination of instruments, electronic or digital instruments, and/or solo voices. Choral music will not be considered.
4. Submissions not complying with the rules of the competition will be disqualified, as will scores not meeting minimum professional standards of notation.

A panel of composers, conductors and performers will judge compositions on originality, artistic promise, technical skill and effectiveness in performance. The judges reserve the right to recommend that no award be given. Their decision will be announced in June 2018.

Parts are the responsibility of the winning composers and must be available by September 1, 2018. The winning composers will each be expected to attend one rehearsal and the performance, if possible.

For inquiries, contact: Ben Salzman, Hamilton College. Email:

Summary:Call for works for small orchestra
Deadline: 03 December 2018
Date Posted: 15 February 2018
Details: The International Uuno Klami Composition Competition has won itself an established position as one of the world’s foremost composition competitions. Held at intervals of five years, the aim of the International Uuno Klami Composition Competition is to discover and promote contemporary European music and composition under the name of composer Uuno Klami (1900–1961) and to produce good new repertoire for a small orchestra of sinfonietta type. Citizens of any Nordic, EU or closely associated country may take part in the competition. Works entered for the competition should reach the Competition Office by 3 December 2018 at the latest. The works shortlisted for the finals will be performed by the Kymi Sinfonietta at two finals concerts, to be held in the cities of Kouvola and Kotka (Finland) in autumn 2019.


- Compositions must be submitted to the Competition Office 3 December 2018 at the latest.
- The Jury will be Finland’s Kalevi Aho and Magnus Lindberg and Estonia’s Erkki-Sven Tüür. The conductor member of the Jury will be Olari Elts (Estonia).
- The following prizes will be awarded: I prize €11,000, II prize €9,000 and III prize €7,000.
- There is no age limit or entry fee.
- The works shortlisted for the finals will be performed by the Kymi Sinfonietta at two finals concerts, to be held in the cities of Kouvola and Kotka (Finland) in autumn 2019. The Jury chooses the winners only after hearing the finals concerts and their rehearsals.

- For more information (rules and entry form) on the competition, please visit the competition website at

 International Festival of Video Art and Visual Music 2018
Summary:Visual Music Call
Deadline: 20 May 2018
Date Posted: 15 February 2018
Details: In order to support the artistic creation and visual composition of every creator from any nationality and age,the International Festival of Video Art and Visual Music 2018 is open on the following basis and format specifications:
Submit a video work for Cinema* or Fulldome**, on the theme of Video Art or Visual Music, with any techniques, concepts and ideas.

• Photo scanner of DNI card, passport or similar.
• Video work information ( .txt or .doc file ).
• Title of work.
• Video format ( Cinema*or Fulldome** ).
• Producer ( name,e-mail address ).
• Document of the work ( maximum half of a page ).
• Producer biography.

Original work with minimum length 5 minutes and maximum length 10 minutes.
• Video Master format, 16bit RGB. Filenames following the “MyWork_LastName.mp4” ( Without umlauts, without special characters or symbols; numbers separated by the underline character, only one dot to separate the filename extensión ).
• Resolution: 2k ( 2048 x 1080 pixels ).
• Picture format: preferably MP4; MOV admitted.
• Frame rate: preferably 30 fps; 29.97 fps, admitted.
• Titles: Five seconds of initial titles.
• Sound: 5.1 surround ( L / R / C / LFE / Ls / Rs ) 16 bit or 24 bit, 48 kHz. Stereo admitted.

Original work with minimum length 4 minutes and maximum length 11 minutes. Dome Master format, 16bit RGB, 180° equidistant image field, consecutively numbered picture sequences starting at 0 or 1. Filenames following the “MyWork_00000.png” scheme, without umlauts, without special characters or symbols; numbers separated by the underline character, only one dot to separate the filename extension.
• Orientation: below = front; left= east ( dome at left ); right = west ( dome at right ); top = rear.
• Resolution: preferably 2k ( 2048 x 2048 pixels ).
• Picture format: preferably PNG, best quality JPG2000 are admitted.
• Frame rate: preferably 30 fps; 29.97 fps, admitted.
• Sound: Uncompressed WAV format***or 5.1 WAV surround ( L / R / C / LFE / Ls / Rs ) 16 bit or 24 bit, 48 kHz.
***Single channels in uncompressed WAV format,16 bit or 24 bit, 48 kHz. Filenames identical to frame filenames according to the scheme above ( “MyWork_C.wav”, “MyWork_L.wav”, etc. ).
For synchronization, the sound must begin with the first frame.

A film teaser, full HD, 1920x1080, 30 seconds max duration.

FOR CINEMA: April 20, 2018.
FOR FULLDOME: May 20, 2018.
1. The evaluation and selection will be for public dissemination and show of works, without fee charge for any participants.
2. The selected artists will be informed via email and will be part of the International Festival.
3. The festival will be held at the Digital Culture Center of Mexico City and other venues from 3 May 2018 onwards. Digital Dome of Cuernavaca from 2 June 2018 onwards.
4. The jury will be made up of international personalities committee.
5. Send your files using Dropbox, WeTransfer or similar, specify the links at:
6. For any queries please email us on:

 Chamber Music | OC
Summary:Competition 2-10 players
Deadline: 01 June 2018
Date Posted: 15 February 2018
Details: Launched in 2012 by pianist Kevin Kwan Loucks and violinist Iryna Krechkovsky, Chamber Music | OC has established itself as one of the most dynamic classical music projects in the country dedicated to advancing the art of chamber music through performance, education, and community outreach. Distinguished guest artists include violinists Glenn Dicterow, Eugene Drucker, Kyung Sun Lee, and Philip Setzer; violists Paul Coletti, Karen Dreyfus, and Ben Ullery; cellists Colin Carr and Robert deMaine; pianists Robert McDonald and Julian Martin; and ensembles including the Jupiter String Quartet and Trio Céleste. Chamber Music | OC recently celebrated its 4th anniversary with a sold-out performance at New York’s Carnegie Hall that was described as “one of the best performances this listener has heard” (New York Concert Review, New York, NY).

The Education Division of Chamber Music | OC is anchored by the Young Artist Program, the only tuition-free program of its kind in the country. Open to exceptionally talented musicians between the ages of 12 and 25, the program provides a unique and comprehensive musical education that features chamber music coachings and performance classes, musicianship and eurhythmics workshops, career development seminars and college counseling, participation in distinguished guest artist master classes, community outreach performances, and the Rising Stars Recital Series.

The Community Outreach Division of Chamber Music | OC aspires to make the benefits of music widely accessible through collaborations with local schools and community organizations. The program offers a range of single- and multi- session workshops designed to give participants the opportunity to enjoy and learn about how music can positively affect their well-being. Partnering organizations include the Irvine Adult Day Health Services, Kids Institute for Development and Advancement, Human Options, and the Orange County Childrens Therapeutic Arts Center.

About the Competition
Through its diverse program offerings and world-class performing artists, Chamber Music | OC is proud to announce a new initiative designed to support the work of living composers: the 1st Annual International New Music Competition featuring the John Corigliano Grand Prize.

Grand Prize:

John Corigliano Grand Prize for best new work: $1,500, live performance and recording of submitted work

Additional Prizes:

California Love Prize for best work by a composer residing in California: $200
Emerging Artist Prize for best work by a composer age 25 and under: $200
International Prize for best work by a composer residing outside of the USA: $200
Trio Céleste Prize for best work for violin, cello, and piano: $200
Wonder Woman Prize for best work by a female composer: $200

Although only the Grand Prize guarantees a performance and recording, performances and/or recordings may be offered to other prize winners at the discretion of the Jury Panel.

Open to all ages and citizenships. Both students and professionals are encouraged to apply.

All submissions must be received by June 1st, 2018. Submissions will be accepted electronically only. Applicants may be selected as winners in more than one category. All determinations made by the Jury Panel are final. The Jury Panel reserves the right to not select a winner in any given category if they feel there is no qualified submission. All winners will be announced on July 18th, 2018. Compositions must be no longer than 15 minutes in length and for any instrumental configuration from 2 to 10 performers. Applicants must submit a complete score (with parts) and recording (midi or live) of the composition. Application fee is $30.

Jury panel to include John Corigliano (The Juilliard School, Lehman College – CUNY), Paul Dooley (University of Michigan), and Vera Ivanova (The Colburn School, Chapman University).
Contacting jury members about this competition is strictly prohibited and may result in disqualification. Please send all inquiries to

 Alba Rosa Viëtor Composition Competition 2018
Summary:Singer with chamber ensemble competition
Deadline: 01 July 2018
Date Posted: 15 February 2018
Details: The Alba Rosa Viétor Foundation is pleased to announce the distinguished jurors who will be selecting the 3rd Alba Rosa Viëtor Composition Competition prize winners. Our jury is a truly international group of composers, representing a broad range of styles in contemporary music. We are grateful to them for sharing their time and expertise, and for their commitment to support the next generation of composers.

Chairman of the Jury is Dutch composer Willem Jeths. He will be assisted by the English composer Tansy Davies, Italian pianist and composer Paolo Marzocchi, German composer Manfred Trojahn and Greek composer Calliope Tsoupaki.

The Alba Rosa Viëtor Composition Competition is part of the Alba Rosa Viva! Festival, named after the Italian composer, violinist and pianist Alba Rosa Viëtor.

The Alba Rosa Viëtor Composition Competition 2018 invites composers to submit an original work, not exceeding 9 minutes, for one singer (soprano, mezzo-soprano, alto, countertenor, tenor, baritone or bass) and piano trio (violin, violoncello and piano).

Inspired by Shostakovich’s wonderful and unique Alexander Blok suite, we would like to encourage young composers to write for this combination of voice and instruments. This does not imply the need for any relationship to the music of Shostakovich.

Composers 35 years of age and under, residing anywhere in the world, are invited to apply.

Five works will be selected to be premiered on Sunday, December 2nd, 2018, during the Alba Rosa Viva! Festival at The Concertgebouw, Amsterdam (The Netherlands). They will be performed by talented young musicians. Dutch radio presenter Maartje Stokkers will introduce the finalists.
The winning composers will be awarded a First prize of €2,000, a Second Prize of €1,000 or an Audience Prize of €1,000.

• The application deadline is July 1st, 2018
• The composition must be for one singer and piano trio and no longer than 9 minutes
• Only one work may be submitted
• There is a registration fee of €35.
• The registration form below must be completed, together with an e-mail sent to
Each e-mail submission must include:
1 The full score, with separate instrumental parts, as a PDF file, formatted as A4, created in either Sibelius or Finale. The score does not have be anonymous.
2 A (sample or live) recording of the work in MP3 format
3 A second PDF-file containing a copy of the composer’s passport and a short CV
4 A statement by the composer that the submitted work has neither been published, performed in public and/or broadcast previously, nor awarded a prize in any other composition competition

The registration fee of € 35 should be remitted to account number IBAN NL14ABNA0537207163 (BIC ABNANL2A) of the Alba Rosa Viëtor Foundation in Amsterdam, The Netherlands, no later than July 1st, 2018.

One can also use PayPal as a payment method. Please use to send the money.

The Jury will select 5 works from the applications submitted by October 15th, 2018 at the latest. The composers of the works selected for the Finale on December 2nd, 2018 will be notified by email.


 Mizmorim Festival
Summary:Piano four hands competition
Deadline: 01 May 2018
Date Posted: 15 February 2018

Das Mizmorim Festival freut sich, einen Kompositionswettbewerb für das Festival 2019 anzukündigen. Der Wettbewerb steht allen KomponistInnen die am 01. Januar 2018 seit mindestens fünf Jahren in der Schweiz leben und die am 01. Januar 2018 nicht älter als 36 Jahre sind.

Das Stück muss für Klavier zu vier Händen geschrieben sein und sollte bis zu 10 Minuten dauern. Es muss sich um ein für das Mizmorim Festival 2019 bestimmtes Originalwerk handeln. Das Werk des Preisträgers/der Preisträgerin wird während des fünften Mizmorim Festivals vom 17. bis 20. Januar 2019 aufgeführt. Das Preisgeld beträgt 1.000 CHF plus Reisekosten (innerhalb Europas) und Unterbringung.

Machine translation:


The Mizmorim Festival is pleased to announce a composition competition for the 2019 festival. The competition is open to all composers who live in Switzerland for at least five years on January 01, 2018 and who are not older than the age of 36 on January 1, 2018.

The piece must be written for piano four hands and should take up to 10 minutes. It must be an original work intended for the Mizmorim Festival 2019. The work of the laureate will be performed during the fifth Mizmorim Festival, January 17-20, 2019. The prize money is 1,000 CHF plus travel costs (within Europe) and accommodation.

Summary:Competition with 4 categories
Deadline: 29 June 2018
Date Posted: 08 February 2018

* We kindly ask the composers to carefully read the whole regulation, which contains detailed information. As already happened with our previous competitions, many composers write us to ask for the same things, which are clearly explained in this regulation. This is probably due to the unwillingness to read such a long regulation, which refers to 4 different competitions. However, if you read it carefully, you will find the answers to all your questions. "Participation in this contest implies acceptance of these Rules"

1 – In this contest any music style is allowed, however it stands out from the previous editions in particular for the first two categories (A and B) which test the creativity of the composers and urge them to create new compositions, within a short time, using only the instruments indicated.

2 - This regulation is very similar to the previous one, but contains the obligation to use the instruments specified for the first two Live categories. In the third category, the composers will be able to choose the instruments that they prefer based on a list (like in the previous competitions.) Conversely, for the fourth category- which is completely different from the other three sections – the choice of the instruments is utterly free.

3 - All the music genres shall be admitted in all the contest categories, provided that the score is written in a clear way. In particular, the third and fourth category are open to: compositions for symphonic orchestra, bands, jazz orchestras, movie soundtracks, different music styles from everywhere in the world (classic, contemporary, choir and solo singers etc. etc.). The competition is open to any musical expression. From compositions written for a single instrument, to those for large orchestra.

4 - As the contest is open to all forms of musical expression, it is allowed to participate with any kind of compositions. According to latest research, there are at least 1264 music genres all over he world. All genres are admitted, and compositions may be registered for any of the 3 categories of this third edition. Special prizes, in addition to those specified in the rules, will be awarded to the most unusual and interesting music genres, with complete freedom of musical experimentation.

5 – The first three categories shall be judged live; which means that they shall be played directly before the jury by one of our orchestras. The compositions of the fourth category called "Instruments of the world" will not be played by the orchestra, but will be rather judged after the reproduction of the audio files and the display of the musical score, by evaluating the files sent by the composers, as happens in the majority of the competitions worldwide. We have added this fourth category to allow the composers to include any existing instrument, including the ethnic ones and those which are rarely used in Western orchestras. Each orchestra, even the larger ones, has its own limitations from an instrumental point of view, therefore it would be impossible to find musicians able to play any instrument, considering the countless instruments in the world.

6 – Most of the articles included in this regulation provide rules applicable to all the categories, except for some points dealing specifically with one of the four categories, which differ from one another in some aspects, such as the participation fee costs (much lower for the fourth category).

7 - EACH CATEGORY is an independent international contest, with no connection to other categories. Composers who register in 3-4 different categories are basically participating in 3-4 separate contests. There is a relation among the various competitions, but only for the numerous prizes and those who sign up for multiple categories. This novelty is interesting and has been introduced in these contests. There will be also a special prize for those who obtain the highest score, adding up the scores reached in the Live categories for which the composer has signed up. Therefore, if a composer takes part in two or three Live categories, in addition to the specific prizes of each category, he/she can win the special prizes relating to the highest score obtained by adding up the “A+B”, “A+C”, “B+C”, “A+B+C” categories (as will be better explained further on.)

8 - Each composer may also take part in different categories with the same composition, provided that it is compatible with the instruments specified; since these competitions are independent and will be judged in a different way.


10 – All composers of the world may take part in the contest, from any Country of any continent.

11 – No is required a music diploma.

12 - There are no age limits. Young music students as well as elderly composers are admitted. As always, the jury will not know the name or age of composers, so that all musicians may have equal chances, even the youngest. We cannot exclude the possibility that somewhere in the world there may be a child prodigy, composing great music at a very young age, like Mozart did. All composers younger than 18 years must have a written and signed authorisation by their parents, or legal tutor.

13 - Compositions may have been already played in public and may appear on YouTube or other websites; they may also be recorded on CDs/DVDs. Compositions will not be admitted if they won the first prize in other contests.

14 – THE NUMBER OF PLACES IS LIMITED to max 30 composers of each registered Nation (for each category), or Independent State. No additional registrations will be accepted from Nations which already reached this number of contestants. This rule aims to allow enough time to evaluate all compositions in the best possible way, which would be impossible to do in the time frame available, if contestants are too many. This way, the Contest will be better manageable and will represent many different Nations. 30 composers of each registered Nation is the maximum number allowed for each category of the contest.

15 – THE CONTEST IS DIVIDED INTO 4 CATEGORIES, four different composition contests:


Now, let us see the characteristics of each category:

16 – CATEGORY "A": “LIVE CHAMBER ORCHESTRA” (14 mandatory parts).
In this category only compositions with the following 14 instrumental parts shall be admitted: violin 1, violin 2, viola, cello, double bass (4 strings), oboe 1, oboe 2, horn 1, horn 2, bassoon 1, bassoon 2, flute, clarinet, timpani (4).

The orchestra playing the songs before the jury shall be made up of about 20 string instruments which play the same parts in unison, in addition to the other instruments indicated, thus creating an orchestra consisting of at least 30 musicians. However, the composition must include only 14 parts.

17 – CATEGORY "B": “LIVE STRING ORCHESTRA” (5 mandatory parts).
In this category only compositions for string instruments are allowed, precisely with these 5 instrumental parts: violin 1, violin 2, viola, cello, double bass (4-string).
The orchestra playing the song before the jury shall be made up of several instruments, which play the same parts in unison, thus creating an orchestra of at least 20 musicians. However the composition must include only 5 parts.

18 – CATEGORY “C”: “LIVE FREE ORCHESTRA” (from 1 to 50 parts of your choice).
19 - Compositions of this category may include maximum 50 different instrumental or vocal parts, with all possible mixed combinations. The expression “instrumental parts” especially refers to the number of musicians, considering that the same musician may sometimes play several instruments at the same time, such as percussionists. For example, if the same musician plays 4 different percussion instruments, which alternate during the song, these 4 instruments will count for one (instead of 4 different parts). Similarly, if the same musician plays the flute and the piccolo, and these instruments alternate in the track, they will count for one, instead of two. In this category is possible to partecipate also with the compositions for solo instrument (1 part), for example solo compositions for piano, harp, guitar, violin, cello, accordion etc.

20 – In case of doubts, or if you wish to add instruments that are not included in the list, please send us an email.

21 - It will be up to conductors to decide how many identical instruments will play the same part together, for example 12 violins – 6 cellos – 4 double basses, etc. Composers may also give their own suggestions about which orchestra formation they consider to be the most suitable.

22 – CATEGORY: “INSTRUMENTS OF THE WORLD”: Compositions of this category may include from 1 to 50 different instrumental or vocal parts, with all possible mixed combinations, from one single instrument or voice up to big orchestra.

23 - This category is extremely different from the other three "LIVE" categories. The main differences are: *The compositions of this category will not be played by our orchestras; *To evaluate the compositions, the judges will listen to the audio files previously sent and examine the musical score; *All the existing musical instruments can be used; *The participation cost is much lower than the other categories, because the orchestra is not included and the single parts must not be printed.

24 - Almost every point included in this Regulation also applies to the third category, except for two important aspects: 1) It is mandatory to send the audio file (which is optional for the first three categories); 2) Only themusical score must be sent, i.e. the one generally used by orchestra conductors, which includes all the instruments on the same page "without sending the single parts" of each instrument (which is, conversely, mandatory for the other categories).

For further information:
Web Site:creativecomposers2018.weebly.c...

 Cory Band Announces 2018 Composition
Summary:Brass band competition
Deadline: 26 April 2018
Date Posted: 08 February 2018
Details: The Cory Band, in collaboration with The Royal Welsh College of Music and Drama (RWCMD), is delighted to announce details of the Composition Prize for 2018.

Now a well-established event in the band’s calendar, entries are sought by composers of any age or experience of works which have not already been performed. Three of the submitted works will be selected by composer and Musical Director of Cory Philip Harper, to be performed by Cory Band at a gala evening in the prestigious Dora Stoutzker Hall at RWCMD on Saturday 26th May 2018. A panel of experts consisting this year of trumpet player John Wallace, conductor Nigel Seaman, and Cory Band’s Musical Director Philip Harper will decide the winner on the night, which will immediately receive a second performance from the band before going on to be published and recorded.

Speaking about this year’s competition Philip Harper said: “This has developed into a really successful event now, and since its inception has created over 60 new works for brass band. Cory has really enjoyed performing and recording the previous three winning works by composers Lewis Furber, Richard Haydn Taylor and Andy Wareham. At this year’s concert we are delighted to be joined also by The Wallace Collection with which the band will be joining to present Scottish composer Jay Capperauld’s new work, which will only add to the spirit of celebration of new brass music of the evening.”

Continuing, Philip commented: “One of the new features to the competition this year is a video which the band and I have created, which aims to give first-time composers an idea of where to start when scoring for the brass band. In previous years I have felt that some entries struggled to grasp the idiosyncrasies involved here, and so hopefully our user-friendly guide will encourage more composers to feel confident in their creating!”

• Entrants are invited to compose a piece for brass band of no more than five minutes duration. Pieces already performed will not be considered.
• Instrumentation should be standard brass band* with no more than four percussion parts. Advice on the basics of brass band scoring can be found by watching Philip Harper’s video:
• There are no restrictions on the style or type of music, but the winning entry will have an appeal to a normal brass band audience at a standard concert, therefore it is advised that entrants consider at least one of these elements of familiarity:

o conventional use of tonality or tonal centres
o Rhythmically-drivenmusic
o A programme or narrative

• The closing date for entries is Thursday 26 April 2018, and the addresses to send entries are included on the entry form. On or before this date candidates should submit the following:
o Theentryform(hardcopy)
o A proof-read, completed full score in Sibelius 6 format
o A hard copy set consisting of four scores, professionally bound, and a full set of band parts (one part per player) of professional quality
o The entry fee of £15, with a cheque made payable to ‘The Cory Band’

• A shortlist of three compositions will be selected for performance at a Gala Concert held in the Dora Stoutzker Hall at RWCMD on Saturday 26 May 2016, where a winning entry will be decided by a panel of judges – Liz Lane, John Wallace, Nigel Seaman and Philip Harper.
• The winning entrant will receive a trophy, a cheque for £300 sponsored by Kapitol Promotions, and the title of 'Winner of the RWCMD Cory Band Composition Prize 2018' for their curriculum vitae.
• The winning entry will be published by Wright and Round Music Publishers, for which the winner will receive a contract of publication, benefitting from royalties annually. The winning entry should therefore be marketable, not just in terms of appeal, but also in terms of level of technical difficulty.
• The winning entry will be recorded commercially by the Cory Band.

* 1 x Eb soprano cornet, 9 x Bb cornets, 1 x Bb flugel horn, 3 x Eb tenor horns, 2 x Bb baritones, 2 x Bb euphoniums, 2 x Bb trombones, 1 x bass trombone, 2 x Eb basses, 2 x Bb basses


 BBC Proms Inspire
Summary:Competition for Young Composers
Deadline: 24 May 2018
Date Posted: 08 February 2018
Details: Now in its twentieth year, the BBC Proms Inspire scheme provides 12-18 year olds with a friendly environment to share ideas, meet like-minded composers and develop their musical creativity, while working alongside some of the UK’s top composers and musicians. If you are 12-18 years old and want to make your own music, read on to find out how to join the BBC Proms Inspire scheme and enter the BBC Proms Inspire Competition.

The 2018 Inspire Competition is now open for entries until 5pm, Thursday 24 May 2018.

What is the BBC Proms Inspire Competition 2018?

“BBC Inspire is a brilliant scheme which invites young composers of all ages and abilities to get involved, no matter what genre or genres you write in. There are great workshop days with professional musicians at the top of their game, as well as the BBC Proms Inspire Competition. In my two years' judging the competition, I've been hugely impressed by the range and excellent standard of the entries.” Kerry Andrew, Inspire Competition judge 2018

Now in its twentieth year, the BBC Proms Inspire Competition continues to provide what most composers only dream of; the chance to have your music performed by professional musicians at the BBC Proms and broadcast on BBC Radio 3. Not only this, winners also receive a BBC commission for a high-profile performance and are mentored throughout the process by a professional composer.

We are looking for music that is original, unique and inspiring. It can be completely innovative or can use the music and ideas of the past to inspire new and exciting pieces of music. There are no restrictions on the type of music you can enter – whatever your style and inspiration, we want to hear it!

What are the prizes?
• Winners are given the opportunity to have their work performed at the BBC Proms by professional musicians and broadcast on Radio 3.
• Winners also receive a BBC commission and are mentored by a professional composer. Previous winners have written for members of Aurora Orchestra, the BBC Symphony Orchestra and the BBC Singers for performances at the Last Night of the Proms, BBC Maida Vale Studios and Radio 3 live broadcasts.
• Highly commended and shortlisted composers have access to exclusive Inspire projects.
• All entrants receive priority booking to Inspire workshops during the Proms season.

More info:

 Listen Image Compose
Summary:Training course for teachers
Deadline: 28 June 2018
Date Posted: 08 February 2018
Details: Register for the Listen Imagine Compose CPD course 2018/19 >>

We are looking for our next cohort of secondary school teachers to join this unique, accredited CPD course.

Listen Image Compose supports teachers in developing their skills and confidence in teaching composing though research and training.

"The best CPD I’ve ever had in terms of catering for my needs as a teacher and a musician." - Sarah Henton, Head of Music, Heart of England School

It is a partnership project between Sound and Music, Birmingham Contemporary Music Group and Birmingham City University which investigates how composing is taught and learned in secondary schools and draws on the expertise of teachers and their pupils, composers, music education academics and arts organisations.

Run as Continuing Professional Development course (with optional accredidation to Master's level) Listen Imagine Compose is designed to develop teacher's skills and confidence in teaching composition.

We are now accepting applications from teachers who are interested in doing the course in the next academic year.

If you have any questions please email

The course in short
The CPD is designed to offer secondary music teachers the opportunity to develop skills in teaching composing with KS3, GCSE and A level students.

• The course can be delivered across the UK in partnership with local hosts;
• The course delivery team includes Professor Martin Fautley, Professor Pam Burnard, Gary Spruce and Dr. Jonathan Savage, supoprted by professional composers and musicians;
• The course can be accredited by Birmingham City University at Level 7 (Certificate/ Diploma/ Masters);
• Students can be a mix of those who do and do not wish to be accredited, subject to a minimum of 4 being accredited;
• The year-long programme comprises 6 x 3 hour sessions plus additional time spent undertaking action research in the classroom and reflection on professional practice.

During the course teachers will:
• Reflect on what composing with young people entails;
• Learn new creative strategies for teaching composing;
• Develop pedagogic strategies for teaching composing;
• Develop existing schemes of work;
• Undertake Action Research;
• Are mentored by a leading academic and teacher trainer;
• Work with professional composers;
• Network and learn from other secondary music teachers participating in the CPD

Fill in the Application Form or contact Judith Robinson to discuss how Listen Imagine Compose can be delivered in your area.

"I have been the lead academic on Listen Imagine Compose since its inception in 2010, and have been researching how composing is taught and learned in secondary schools for many years, and LIC is a logical development from this. It offers sound research-based principles, coupled with a clear and logical CPD offer for teachers. I have enjoyed working on the pilot of the Listen Imagine Compose CPD with teachers, and am delighted that it is now being offered by Sound and Music as a Masters in Teaching and Learning, accredited by BCU."- Professor Martin Fautley, Professor of Education, Birmingham City University


 Florida Southern College String Camp
Summary:String Orchestra Competition
Deadline: 01 May 2018
Date Posted: 01 February 2018
Details: The Florida Southern College String Camp is pleased to invite middle school, high school, and college/university students to submit string orchestra compositions for the 2018 FSC Call for String Scores contest. The winning composer, three finalists, and all applicants will be invited to participate in a FREE composition workshop of the pieces on FSC campus on Friday, June 22, with distinguished composers from the area. The winning composition will be performed on the final camp concert on June 22, at 7:30pm in FSC’s Branscomb Auditorium.

All submissions must be received by May 1, 2018 at 11:59pm

There is NO Fee to Apply!

Students currently enrolled in middle school, high school, college or university in the United States
Works should be of educational nature (using clear key, time signature, melody & harmony)
Difficulty level: works suitable to be played by middle school/high school students (no harder than level 5)
Duration: No longer than 5 minutes
Instrumentation: standard string orchestra (violin 1, violin 2, viola, cello, double bass)
The work must be original and may not have previously been performed
Only one work per composer will be considered
Incomplete works, handwritten scores, or unreadable/messy scores will not be considered

Application Process

• Email your completed application (download at and a PDF file of your full score to Email subject should read: “2018 FSC Call for String Scores Contest”

• Audio recording (MIDI playback) of the pieces are encouraged but not required. If available, please email the audio files with your score and application.

• Winning composer will be asked to mail hardcopies of instrumental parts to the address below and a short bio by June 1, 2018.

Selection Process

• Submitted compositions will be evaluated for their creativity, quality, idiomatic writing, and difficulty level, as well as for clarity, accuracy, and cleanliness of the submitted score.

• Judges panel will consist of Dr. Kira Omelchenko (Director of FSC Orchestra and Strings), Dr. Stas Omelchenko (FSC Professor of Composition), and Todd Parrish (Orchestra Director, Winter Park High School, and Former Orchestra Editor with J. W. Pepper Sheet Music and Wingert-Jones Publications)

• The winner will be announced no later than May 15, 2018 and will be invited (along with three finalists) to attend a FREE composition workshop of their pieces with Dr. Stas Omelchenko during the last day of camp on June 22. All contest applicants are also invited to attend the workshop.

• The winning composition will be premiered on the final camp concert on June 22, at 7:30pm at Branscomb Auditorium, on FSC campus. Winning composer, finalists, and all applicants are encouraged to attend the concert.

• Judges’ decision is final.

Contact Information: Dr. Kira Omelchenko
Director of Orchestra and Strings
Florida Southern College
111 Lake Hollingsworth Drive
Lakeland, FL 33809
Phone: (863) 680-4216

Deadline: 30 August 2018
Date Posted: 01 February 2018
Details: The Brazosport Symphony Orchestra (BSO), located in Lake Jackson, Texas, is sponsoring a competition for student and amateur composers.

The winner of the competition shall receive a cash prize of $500.00. Furthermore, the BSO will feature the winning composition in a public performance.

• Entries shall be original compositions between six and ten minutes duration.
• Each entry shall be accompanied by a nonrefundable payment of $10.00, payable to the Brazosport Symphony Orchestra. Payment via Paypal is acceptable.
• Entries must be postmarked, or sent via email, no later than August 30, 2018.
• Each application must include a completed entry form. The entry form is available upon request from :
• The composition shall be orchestrated for performance by a full symphony orchestra.
• The composition shall not have been previously published. Additionally, the composition shall not have been performed at a concert where admission is charged. Previous performance at student recitals, faculty recitals, or other free events will not disqualify the composition.
• The winning composer shall provide a hardcopy of the score of the winning composition and the constituent parts to the BSO following notification of the judges’ decision, but before the actual award is made to the composer. Individual parts should also be sent to the BSO in pdf format.
• The winning composer shall grant a non-exclusive, non-transferable, non-expiring royalty-free copyright license to the BSO for use of the winning composition. The BSO reserves the right to use the winning composition to promote the BSO including live and recorded performances.
• For the purposes of this competition:

- A student composer is defined as one currently enrolled in an educational institution.
- An amateur composer is defined as one who is not employed solely as a composer. Music teachers, band or orchestra directors, performers, copyists, etc. are considered amateur composers.
- A symphony orchestra is defined as having the normal complement of strings, with full woodwinds (flute, clarinet, oboe, bassoon), full brass (French horn, trumpet, trombone, tuba), percussion, and others as needed.

Criteria for judging are musicianship and suitability for performance.

• Submit the score in pdf format.
• Submit the recording in mp3 format.
• The composer’s name must not appear on the score. To ensure impartiality, use only a pseudonym.

Send all materials to:
Brazosport Symphony Orchestra
Composition Competition
65 Bayberry Court
Lake Jackson, TX 77566

If there are any questions, please contact Philip Walker at:

Summary:Piano Competition
Deadline: 31 May 2018
Date Posted: 01 February 2018
Details: Piano miniature
No entry fee

Les éditions Nunc et le festival Présences à Frontenay 2018 (Poésie et piano) sont heureux d'annoncer le premier concours de composition Nunc en 2018.

Les compositeurs sont appelés à soumettre une miniature pour piano inédite avec ou sans électronique, inspirée par un des poèmes de la sélection ci-dessous.

Les oeuvres primées seront crées lors du festival Présences à Frontenay cet été au Château lors du récital de poésie et de piano par Trami Nguyen ou par Laurent Durupt.
Un grand prix de composition doté de 500,00 euros sera offert à l'un des lauréats. La remise des prix aura lieu en même temps que le concours de poésie Nunc.

Il n'y a pas de limitations d'âge et le concours est ouvert à toutes les nationalités. A défaut d'une oeuvre inédite, pourront exceptionnellement être considérées des oeuvres non créées en France avec inspiration poétique proche du thème de l'année 2018 "l'Exil".
La durée de l'oeuvre ne peut excéder 4 minutes.

Le jury sera composé du comité artistique du festival et des écrivains et éditeurs de poésie associés à la revue Nunc ainsi que les pianistes Trami Nguyen et Laurent Durupt.

[The Nunc editions and the Presences festival at Frontenay 2018 (Poetry and piano) are pleased to announce the first Nunc Composition Competition in 2018.

Composers are asked to submit an unpublished piano miniature with or without electronics, inspired by one of the poems in the selection below.

The winning works will be created during the Présences festival in Frontenay this summer at the Château during the poetry and piano recital by Trami Nguyen or Laurent Durupt.
A grand prize of composition with 500.00 euros will be offered to one of the laureates. The awards ceremony will take place at the same time as the Nunc Poetry Contest.

There are no age restrictions and the competition is open to all nationalities. In the absence of an unpublished work, may exceptionally be considered works not created in France with poetic inspiration close to the theme of the year 2018 "Exile".
The duration of the work can not exceed 4 minutes.

The jury will be composed of the artistic committee of the festival and the writers and editors of poetry associated with the journal Nunc as well as the pianists Trami Nguyen and Laurent Durupt.]

Adresses à laquelle envoyer les partitions [address to mail scores]:
Date limite d'envoi 31 mai 2018 (pour format pdf)

Adresse postale (pour format papier) [snailmail address]:
3 avenue de Stalingrad 92220 Bagneux France

Sélection de poèmes :
- Erri de luca, Aller simple (extrait)
- Beckett, Soubresauts (extrait)
- Wang Wei, Vous qui venez de mon pays natal
- Adonis, Terre d’exil
- Mahmoud Darwich, Passeport
- Liminaire du Festival par Pierricjk de Chermont

Erri DE LUCA, Chœur

De toute distance nous arriverons, à millions de pas
ceux qui vont à pied ne peuvent être arrêtés.

De nos flancs naît votre nouveau monde,
elle est nôtre la rupture des eaux, la montée du lait.

Vous êtes le cou de la planète, la tête coiffée,
le nez délicat, sommet de sable de l’humanité.

Nous sommes les pieds en marche pour vous rejoindre,
nous soutiendrons votre corps, tout frais de nos forces.

Nous déblaierons la neige, nous lisserons les prés, nous battrons les tapis
Nous sommes les pieds et nous connaissons le sol pas à pas.

L’un de nous a dit au nom de tous :
« D’accord, je meurs, mais dans trois jours je ressuscite et je reviens. »
Source : Aller simple, traduction de l’italien par Daniel Valin, éditions Gallimard, 2012.

Samuel Beckett, Soubresauts (extrait)
Ainsi allait avant de se figer à nouveau lorsqu’à ses oreilles depuis ses tréfonds oh qu’il serait et ici un mot perdu que de finir là où jamais avant. Puis long silence long tout court ou si long que peut-être plus rien et puis à nouveau depuis ses tréfonds à peine un murmure oh qu’il serait et ici le mot perdu que de finir là où jamais avant. En tout cas quoi que ça pût être que de finir et ainsi de suite n’y était-il pas déjà là même où il se trouvait figé sur place et plié en deux et sans cesse à ses oreilles depuis ses tréfonds à peine un murmure oh qu’il serait quoi et ainsi de suite ne se trouvait-il pas à en croire ses yeux déjà là où jamais avant ? Car même un tel que lui s’étant trouvé une fois dans un lieu pareil comment n’aurait-il pas frémi en s’y retrouvant ce qu’il n’avait pas fait et ayant frémi cherché du réconfort en songeant soi-disant qu’ayant trouvé le moyen d’en sortir alors il pouvait le retrouver pour en sortir encore ce qu’il n’avait pas fait non plus ? Là donc tout ce temps où jamais avant et quelque part qu’il cherchât des yeux nul danger ou espoir selon le cas d’en jamais sortir. Fallait-il donc comme si de rien n’était pousser de l’avant tantôt dans une direction tantôt dans une autre ou au contraire ne plus bouger selon le cas c’est-à-dire selon ce mot perdu lequel s’il s’avérait négatif tel que malheureux ou malvenu par exemple alors évidemment malgré tout l’un et au cas contraire alors évidemment l’autre à savoir ne plus bouger. Tel à titre d’échantillon le vacarme dans son esprit soi-disant jusqu’à plus rien depuis ses tréfonds qu’à peine de loin en loin oh finir. N’importe comment n’importe où. Temps et peine et soi soi-disant. Oh tout finir.
Source : Soubresauts, Samuel Beckett, éditions de Minuit, 1989, p. 25.

WANG Wei, Vous qui venez de mon pays natal
vous qui venez de mon pays natal,
vous devez en savoir mille choses.
À votre départ, le prunier d’hiver,
avait-il fleuri devant ma fenêtre ?
Source : La poésie chinoise, de Patricia Guillermaz, éditions Seghers, 1957.

ADONIS, Terre d’exil
Terre d'exil. Prière :
que la ruine soit prophète,
que les pierres deviennent élégie pour ses pas,
étoiles filantes pour ses démons.
Terre d'exil – Nous saluons Manât
et la face de ta 'Uzzâ, ô déserts.
Nous t'invoquons : Ô Lât ! Tu es féminité. Poésie,
que la terre soit lit et féminité.

Mahmoud DARWICH, Passeport
Ils ne m’ont pas connu dans les simulacres
qui phagocytent mon teint sur le passeport,
et ma blessure était pour eux une exposition
pour touriste se passionnant pour les collections d’images.
Ils ne m’ont pas connu, ah ! ne laisse pas
mes mains sans soleil
car les arbres
me connaissent…
Et me connaissent toutes les chansons de pluie.
Ne me laisse pas aussi blême que la lune.
Tous les oiseaux qui ont escorté
mes paumes aux portes du lointain aéroport,
tous les champs de blé,
tous les pénitenciers
tous les sépulcres blancs
toutes les frontières,
tous les mouchoirs jetés,
tous les yeux,
étaient pour moi,
mais ils les ont expulsés du passeport !
Privé du nom, d’une appartenance
dans une terre nourries de mes mains ?
Jonas a hurlé aujourd’hui à remplir les cieux,
ne faites pas deux fois de moi un exemple
Messieurs, messieurs les hérauts,
ne demandez pas aux arbres leurs noms,
ne demandez pas aux rivières leurs mères,
de mon front se fend l’épée de lumière,
et de ma main jaillit l’eau du fleuve,
tous les cœurs sont mes compatriotes,
jetez donc loin de moi ce passeport !

Source : Actualité de l’émigration, traduction de l’arabe par Omar Merzoug, 1988.

Liminaire: La maison aux volets fermés
Pierrick de Chermont
À Franz Kafka
– […] J’aperçus une maison aux volets rouges fermés.
– Aux volets rouges fermés ? reprit l’officier. Bien, bien.
C'était la fin de l’interrogatoire, qui concluait une journée d’épreuves rendue obligatoire à tous les habitants de la colonie ; épreuve plutôt simple puisqu'elle consistait à rester six heures devant un paysage, sans rien faire, sans écran, sans personne ; et en fin de la journée, être interrogé par un officier sur ce qu'on avait vu.
– Vous êtes donc un exilé, conclut l'officier en souriant. Nous allons devoir vous expulser. »
– Je ne savais pas que j'étais en exil », lui répondit l’habitant en souriant à son tour. Un silence s’établi. « Quelle va être la suite de la procédure ? Pensez-vous qu’il y en a pour longtemps ? »
– Non. Vous avez de la chance. L'appareil est disponible. Le commandant vous prendra en charge en début de soirée.

L'appareil était maintenant devant leurs yeux après une bonne heure de marche. Ils avaient eu chaud. Les menottes avaient irrité l'épiderme du prisonnier, mais enfin ils étaient arrivés au but. L'appareil était celui-là qui avait servi des années durant, puis qu’on avait jeté aux oubliettes quand les autorités avaient changé. Mais, face aux problèmes que posait maintenant l'immortalité – cette apathie douloureuse qui régnait dans la colonie – l'arrière arrière petit-fils du commandant avait eu l'idée de réactiver l’appareil, et, en revoyant les réglages pour en faire un appareil à expulser en toute certitude.
– Je ne vais pas vous faire l'affront de vous présenter l'appareil, objet de tous les rêves de notre colonie. Bien sûr, je ne vous cacherai pas que les premiers exilés ont essuyé les inévitables ratés des débuts. Mais enfin, nous avons connu aucun échec : tous ont pu mourir.
– Mourir ? » Les yeux de l’habitant brillaient.
– Oui nous pouvons nous vanter d’un taux de réussite de cent pour cent, jusqu'à ce jour ». Il portait, coincé entre son cou et le col de sa veste les deux mouchoirs emblématiques de son ancêtre.
« Je ne vous cacherai pas que vous allez souffrir, hélas moins longtemps qu’autrefois. L'appareil n'y est pour rien, c'est notre résistance qui s'est affaiblie. Les plus solides tiennent une heure à peine. » Après une légère hésitation. « Toutefois, si vous n'y autorisez, je tenterai volontiers un nouveau réglage qui pourrait rallonger la durée de votre agonie à trois heures.
– Trois heures ? hocha rêveusement l’habitant. La durée même du Christ sur la croix, je n'ose y croire…
– Bien sûr, je ne vous garantis rien, ajouta aussitôt le commandant. Pour mettre le maximum de chances de notre côté, je vais vous décrire avec précision le déroulé de l'épreuve ; votre capacité de résistance s’en trouvera accru.
« Le début, j'imagine, vous est familier : le robot, ici présent, découpe d'un coup vos vêtements en deux parts égales, puis il vous soulève et vous transporte jusqu’au le lit du supplice ; un lit recouvert d'une terre sélectionnée grâce à notre algorithme pour reproduire votre terre natale. Au début, bien sûr, vous la humerez, mais elle ne vous dira rien – peut-être même ressentirez-vous un léger écœurement.
« Ensuite, vous entendez la herse s'agiter au-dessus de vous, avec les mêmes grincements d'origine (j’en suis très fier). Ils réveilleront en vous quelque chose qu'on pourrait appeler votre âme d'enfant et, en même temps, l'espérance d’un dénouement (enfin la mort vous direz-vous). Les aiguilles, après être descendues avec lenteur, viennent effleurer votre épiderme et commencent leur ouvrage scribe.
Les premiers mouvements suscitent à peine un chatouillement, puis, les aiguilles pénètrent douloureusement dans la chair et de plus en plus profondément. Elles y tracent le nom de votre terre natale dans toutes les langues connues. Après chaque action, vous chercherez à lire pour découvrir l’énigme, mais aussitôt le nom lu, vous perdrez la connaissance de cette langue ; tout son vocabulaire, toute sa syntaxe et tous les souvenirs que vous avez accumulés seront brutalement effacés. En échange, si vous me permettez cette conception marchande de l’opération, les effluves de la terre se feront de plus en plus fortes et vous serez de plus en plus proche de la reconnaître. Moment poignant et délicieux, où se mêlent souffrance et proximité du dénouement.
La dernière langue que la herse emploiera sera dans votre langue natale, enfin retrouvée. Imaginez un peu : le nom de votre terre natale dans votre langue natale ! Naturellement, vous voudrez la dire, et vous la direz dans votre dernier souffle ; et tandis que tout ce que vous avez perdu et que vous allez perdre à nouveau vous envahit et ravive votre conscience, vous illumine, vous éprouvez le mystère de votre dernier souffle, le mystère de votre sang abreuvant votre terre natale. Ainsi, non seulement vous allez mourir, mais lors votre dernier souffle, vous retrouvez comme neuve votre espérance natale par le froid baiser de la mort. »

Hélas – si l'on en croit le rapport de l'officier de service – les choses ne se sont pas déroulées avec une telle réussite. Au milieu du supplice, des bandes armées ont débarqué et, grâce à leur armement sophistiqué, ont tué la totalité de la colonie (sauf l'officier bien caché), mettant fin à leur croyance en l’immortalité. Quand l’officier sortit de sa cachette et voulut rendre hommage au commandement et à son dernier supplicié, il se pencha sur le cadavre et eut la surprise de pouvoir lire le nom du pays natal : Terre promise. Depuis, l'officier erre d’une colonie à l’autre, en quête de la maison aux volets rouges fermés.

 Women Composing in Balkans
Summary:Competition for female composers
Deadline: 30 April 2018
Date Posted: 01 February 2018
Details: Call for Scores for women composers of Bulgaria, Greece, Romania.
MethExis Ensemble, (Artemis Vavatsika - concert accordion,
Alexis Pogrevnois - clarinet, Dora Alexiadou - violin, Iro Menegou - piano)

The non-profit organization “beartive” in collaboration with the Laboratory for Research on Contemporary Music, Composition, Performance and Improvisation (LaReCoM-DMSA) of the Department of Music Science and Art of the University of Macedonia, Thessaloniki announces a call for scores addressed to young female composers from Bulgaria, Greece and Romania. Five works will be selected and will be performed by the MethExis Ensemble in a concert in September 29th 2018 in Thessaloniki.

The project is funded by the Project Fund of the Cultural Management Academy of the Goethe-Institutes in Sofia, Thessaloniki and Bucharest.

Deadline 30th April

1. Women Composers must be Bulgarian, Greek or Romanian citizens.
2. The call is open for composers born after 1988.
3. The duration of submitted works is expected to be between 8 and 12 minutes.
4. Works can use either all the instruments mentioned above (concert accordion, clarinet in Bb, A and Eb, violin and piano) or smaller combination (duets & trios); solo works or works which exceed the ensemble (e.g. works including live electronics, recorded material etc.) will not be considered.
5. Any special performing instructions must be in English.
6. Five works will be selected by a jury consisting of beartive and La.Re.Co.M members.
7. The selected works will be performed in public at the 29th of September 2018 in Thessaloniki.
8. An open workshop including open rehearsals, lectures and round table will also take place in 27th and 28th of September 2018 in Thessaloniki.
9. Composers must submit a description of the work of maximum 150 words.
10. Each participant can submit no more than two compositions. The composition(s) could have been earlier performed but not published.
11. Transportation (from the country of origin) and accommodation costs for the composers of the selected works will be covered from the organization.


Summary:Competition for vocal ensemble
Deadline: 01 July 2018
Date Posted: 01 February 2018

Ein in Regensburg stattfindender Kompositionswettbewerb zum gegenwartsbezogenen Jahresthema des Kulturreferats 2018: „Stadt – Land – Fluss “. Der Wettbewerb richtet sich an Komponistinnen und Komponisten jeden Alters, die neue Werke komponieren und nach Regensburg zur Uraufführung bringen.
Neben dem Jahresthema wird als Vorgabe lediglich die Besetzung des ausführenden Ensembles (Sextett, SMezATBarB, solistisch besetzt), sowie eine Gesamtwerklänge von maximal 6 Minuten angegeben. Den Komponisten wird somit ein möglichst kreativer Umgang mit frei gewählten Texten eingeräumt.

Die Kompositionen müssen folgende Kriterien erfüllen
• Inhaltliche Auseinandersetzung mit dem Motto „Stadt – Land – Fluss“
• Textgrundlage frei wählbar
• Aufführungsdauer maximal 6 Minuten
• Sechsstimmige A‐cappella‐Komposition für das StimmGold Vokalensemble (SMezATBarB, solistisch besetzt)
• Nur eine Komposition pro Komponist
• Falls es sich beim vertonten Text um nicht gemeinfreies Material handelt, muss das Nutzungsrecht zur Aufführung und Veröffentlichung in einem Verlag vorliegen.
• Das eingesendete Werk darf weder publiziert noch Preisträger bei einem anderen Wettbewerb sein.

Der Wettbewerb wird anonymisiert durchgeführt. Folgende Unterlagen müssen eingereicht werden:
• Partitur in fünffacher Ausfertigung, gebunden und gut leserlich ohne Namensnennung
• Anmeldeformular mit Name, Anschrift, Telefon und E‐Mail‐Adresse des Komponisten/der Komponistin und Angabe des Titels der eingereichten Komposition
• Kurzbiografie des Komponisten/der Komponistin mit Foto

Die WettbewerbsteilnehmerInnen erklären ihr Einverständnis mit Rundfunk‐ und Fernsehaufnahmen sowie mit Aufzeichnungen auf Ton‐ und Bildträgern (einschließlich deren Vervielfältigung) im Zusammenhang mit dem Wettbewerb. Etwa hieraus entstehende Rechte übertragen sie mit der Anerkennung der Teilnahmebedingungen des Kompositionswettbewerbs auf die Veranstalter.
Die Organisatoren sind nicht verantwortlich für Verlust oder Beschädigung der eingereichten Unterlagen. Die eingereichten Unterlagen werden nicht zurückgesandt.

1. Platz: 1.500 € (gestiftet vom Deutschen Komponistenverband)
2. Platz: 1.000 € (gestiftet von der REWAG AG & Co KG Regensburg)
3. Platz: 500 €

Einsendeschluss: 01. Juli 2018 (Poststempel)
Jury-Auswertung: Juli 2018
Bekanntgabe der Preisträger: Ende August 2018
Preisträgerkonzert: 20. Oktober 2018

Verein zur Förderung zeitgenössischer Musik Regensburg
Untere Bachgasse 15
93047 Regensburg

Bewertende Jury
Prof. i. K. Steven Heelein (Komponist, Prof. für Dirigieren, HfK Bayreuth)
Prof. Kunibert Schäfer (Prof. für Dirigieren, HfKM Regensburg)
Tomasz Skwerez (Komponist, Solocellist Theater Regensburg)
Jakob Steiner, Christoph Schäfer (StimmGold Vokalensemble)

Die Entscheidung der Jury ist endgültig und unanfechtbar.

StimmGold Vokalensemble
Als Ensemble für das Abschlusskonzert wurde das junge Regensburger Vokalensemble StimmGold ausgewählt.
Das junge Regensburger Vokalensemble StimmGold wurde Anfang 2014 von Studierenden der Hochschule für katholische Kirchenmusik und Musikpädagogik Regensburg (HfKM) und der Fakultät für Musikpädagogik an der Universität Regensburg gegründet. Die sechs klassisch ausgebildeten Sänger verbindet neben jahrelanger Ensemblepraxis und reichhaltiger Chorerfahrung (u.a. im Neuen Kammerchor Regensburg) vor allem die Freude am gemeinsamen Singen anspruchsvoller Werke.
Als Schwerpunkt des Ensembles gilt die deutsche romantische Vokalmusik sowie aktuelle a cappella-Literatur, darunter Uraufführungen zeitgenössischer Werke (2016 Bastian Fuchs, 2017 Rihards Dubra) und moderne Volksliedbearbeitungen, in der die professionellen Stimmen mit Ausdrucksstärke und harmonischer Transparenz überzeugen.


A composition competition in Regensburg for the present-day theme of the Kulturreferats 2018: "City - Land - River". The competition is aimed at composers of all ages who compose new works and bring them to world premiere in Regensburg.
In addition to the annual theme, the default is only the cast of the performing ensemble (sextet, SMezATBarB, solo cast), as well as a total length of a maximum of 6 minutes. The composer is thus given the most creative possible use of freely chosen texts.

The compositions must meet the following criteria
• Content related to the motto "City - Country - River"
• Textual basis freely selectable
• Performance duration up to 6 minutes
• Six-part a cappella composition for the StimmGold vocal ensemble (SMezATBarB, solo part)
• Only one composition per composer
• If the text that is set to music is non-public domain material, the right of use must be available for the performance and publication in a publisher.
• The submitted work may neither be published nor awarded a prize in another competition.
conditions of participation
The competition will be conducted anonymously. The following documents must be submitted:
• Score in five copies, bound and legible without attribution
• Registration form with the name, address, telephone and e-mail address of the composer and the title of the composition submitted
• Short biography of the composer with photo
Competitors declare their consent to radio and television recordings as well as recordings on sound and image media (including their duplication) in connection with the Competition. Any rights resulting therefrom shall be transferred to the organizers upon acceptance of the conditions of participation in the composition competition.
The organizers are not responsible for loss or damage of the submitted documents. The submitted documents will not be returned.

1st place: 1,500 € (donated by the German Composers' Association)
2nd place: € 1,000 (donated by REWAG AG & Co KG Regensburg)
3rd place: 500 €

Closing date: 01. July 2018 (postmark)
Jury Evaluation: July 2018
Announcement of the winners: end of August 2018
Prizewinners Concert: October 20, 2018

Closing Address
Association for the Promotion of Contemporary Music Regensburg
Lower Bachgasse 15
93047 Regensburg

Evaluation jury
Prof. i. K. Steven Heelein (Composer, Prof. for Conducting, HfK Bayreuth)
Prof. Kunibert Schäfer (Prof. for Conducting, HfKM Regensburg)
Tomasz Skwerez (Composer, Solocellist Theater Regensburg)
Jakob Steiner, Christoph Schäfer (vocal gold vocal ensemble)

The decision of the jury is final and incontestable.

StimmGold vocal ensemble
The young Regensburg vocal ensemble StimmGold was chosen as the ensemble for the final concert.
The young Regensburg vocal ensemble StimmGold was founded at the beginning of 2014 by students of the Hochschule für katholische Kirchenmusik und Musikpädagogik Regensburg (HfKM) and the Faculty of Music Education at the University of Regensburg. The six classically trained singers, in addition to years of ensemble practice and rich choir experience (including the Neue Kammerchor Regensburg), primarily combines the joy of singing together demanding works.
The focus of the ensemble is German romantic vocal music as well as current a cappella literature, including world premieres of contemporary works (2016 Bastian Fuchs, 2017 Rihards Dubra) and modern folk-song arrangements, in which the professional voices convince with expressiveness and harmonious transparency.

 III International Composition Prize - SEM 2018
Summary:Orchestral Competition
Deadline: 10 May 2018
Date Posted: 25 January 2018
Details: L’Associazione Ensemble Serenissima di Sacile (PN), in collaborazione con la Casa Editrice Pizzicato Verlag Helvetia, bandisce la seconda edizione del Concorso Internazionale di Composizione “III INTERNATIONAL COMPOSITION PRIZE – SEM 2018”. La composizione vincitrice, oltre a ricevere un premio in denaro, sarà eseguita dall’Orchestra dell’FVG International Music Meeting nel concerto finale che si terrà nel luglio 2018 e sarà pubblicata dalla Casa Editrice Pizzicato Verlag Helvetia.

Associazione Ensemble Serenissima of Sacile (PN) - Italy, in collaboration with Pizzicato Verlag Helvetia publishing house, announces the second edition of the International Competition of Composition "III INTERNATIONAL COMPOSITION PRIZE – SEM 2018”. The winning composition will be receive a cash prize, it will be performed by the FVG International Music Meeting Orchestra during the final orchestra concert, which will take place in July 2018 and it will be published by Pizzicato Verlag Helvetia publishing house.


La partecipazione è aperta a musicisti di qualunque nazionalità, senza limiti di età.

The competition is open to musicians of all nationalities with no age limit.

Le composizioni, per orchestra senza solisti, dovranno essere inedite, non premiate in altri concorsi e mai precedentemente eseguite in pubblici concerti, né radio o telediffuse. L'organico massimo previsto, che potrà essere utilizzato anche parzialmente, è costituito da:
2 flauti (anche ottavino);
2 oboi;
2 clarinetti;
2 fagotti;
2 corni;
2 trombe;
Non è ammesso l'utilizzo di alcun dispositivo elettro-acustico.
La durata della composizione deve essere compresa fra i quattro (4) e i sette (7) minuti circa, e dovrà essere chiaramente indicata sulla partitura.
Le composizioni che non rispetteranno i requisiti indicati saranno escluse dal concorso.

The submitted composition, must be unreleased for orchestra without soloists, unpublished and never performed before in public concerts, radio or television nor awarded in any other composition competitions. They must involve the following instruments, that can be totally or partially used:
n° 2 flute (also piccolo);
n° 2 oboe;
n° 2 clarinet;
n° 2 bassoon;
n° 2 horn;
n° 2 trumpet;
PA System is not permitted. The duration of the composition must range from 4 (four) to 7 (seven) minutes and it has to be precisely reported on the score. Every score that will not respect the aforesaid indications will not be taken into consideration.

Le partiture, unitamente a tutto il materiale previsto dall’art.5, dovranno essere inviate esclusivamente tramite posta elettronica e dovranno pervenire entro le ore 24.00 del 10 maggio 2018 (farà fede la data e l’orario di ricevimento indicati dal computer) all'indirizzo mail: con oggetto “III International Prize SEM 2018”.
Per l’invio è possibile appoggiarsi a servizi come

The scores and all documents listed in art.5, must be sent exclusively by email and must be received no later than by midnight of the 10th May 2018 (computer's time and date will be proof of dispatch) to the email address: specifying with regard to “III International Composition Prize SEM 2018”.
It can be sent via:

La partecipazione al concorso è subordinata al versamento - tramite bonifico bancario - di una tassa di iscrizione (non rimborsabile) di € 35,00.
L’IBAN su cui effettuare il versamento è: IT52T0835664990000000010900 - BCC Pordenonese filiale di Sacile.
intestato a: Associazione Ensemble Serenissima
Viale Zancanaro, 10
33077 Sacile (PN) – Italia
Nella causale specificare: III International Composition Prize SEM 2018.
Ogni partecipante potrà concorrere con più opere effettuando per ciascuna opera una distinta iscrizione con la tassa relativa.

The candidates to take part in the competition must pay a registration fee (non-refundable) of Euros 35 by bank transfer.
The IBAN number is: IT52T0835664990000000010900 - BCC Pordenonese filiale di Sacile.
Headed to: Associazione Ensemble Serenissima
Viale Zancanaro, 10
33077 Sacile (PN) – Italy
specifying III International Composition Prize SEM 2018.
Every composer can also participate with more than one composition, but each one has to be sent with a separate application form and the relative registration fee.

La partecipazione al Concorso implica l'invio del seguente materiale, che dovrà pervenire tutto per via telematica:
1) Modulo d’iscrizione in formato JPG o PDF, debitamente firmato, contenente la dichiarazione del partecipante attestante che la composizione presentata non è mai stata: edita, premiata in altri concorsi, tele o radiodiffusa, registrata per uso commerciale e/o diffusa sul web, eseguita integralmente in concerti pubblici e l'autorizzazione all’esecuzione, alla pubblicazione, alla registrazione e alla diffusione dell'opera.
2)Ricevuta del versamento della tassa di iscrizione al concorso in formato JPG o PDF.
3)Partitura in formato PDF e in File Finale o Sibelius*. I partecipanti dovranno presentare una partitura completa, redatta con programma informatico e perfettamente leggibile, pena l’esclusione dal concorso ad insindacabile giudizio della Commissione giudicatrice.
*L'eventuale utilizzo di altri programmi di scrittura musicale può essere concesso dietro esplicita e motivata richiesta alla Segreteria del Concorso.
4)Copia di un documento d’identità o passaporto in corso di validità in formato JPG o PDF.
5)Foto recente del partecipante (per eventuali usi stampa) in formato JPG o PDF.
6)Un breve curriculum vitae in lingua italiana o inglese - debitamente firmato - in formato PDF.
7)Simulazione Midi nel Formato MP3 il quale costituirà solo un supporto al giudizio della giuria il quale si baserà comunque sulla partitura.
A completamento, in forma opzionale e facoltativa, i partecipanti possono inviare anche una breve nota didascalica relativa all’opera, redatta in lingua italiana e/o inglese in PDF.
L'esito del concorso verrà proclamato entro il 10 giugno 2018. Il vincitore (e/o l'autore di un brano eventualmente segnalato per l'esecuzione) dovrà provvedere alla realizzazione e all'invio, sempre per via telematica, di tutto il materiale d'orchestra completo (tutte le parti staccate dei singoli strumenti redatte con lo stesso programma utilizzato per la partitura e realizzate anche in formato PDF) entro il termine perentorio del 30 giugno 2018.
Qualora, per qualsiasi motivo, il concorrente vincitore e/o eventuali segnalati non rispettassero tale termine (o il materiale risultasse incompleto o graficamente incompatibile con un normale utilizzo professionale) perderanno ogni diritto all'importo del premio e/o all’esecuzione e pubblicazione del brano.

The documents necessary to register must be sent via e-mail and include:
1)Completely filled out application form and duly signed (JPG or PDF format) containing candidate’s statement which assures that the presented composition has never been published, rewarded in other competitions, broadcasted, registered for commercial purp0
0oses, spread on the web or performed in public concerts and authorization for the work performance, publication, recording and circulation.
2)Payment receipt of the registration fee (JPG or PDF format).
3)Score in File Finale or Sibelius* and in PDF form. All participants must present complete scores, printed with software and completely legible, otherwise the composition will be excluded by the unequivocal decision of the commission.
*Any use of other music notation software can be granted after explicit and reasoned request to the Secretary of the Competition.
4)Photocopy of identity card or passport (JPG or PDF format).
5)Photo of the candidate for press use (JPG or PDF format).
6)Curriculum vitae, in Italian or in English and duly signed (PDF format).
7)Midi simulation in MP3 format, which will represent a mere support to the Jury decision that will be in any case based on the score itself
Upon completion, as an option, participants can also send a little description of the presented opera, in Italian or in English (PDF).
Results of the contest will be declared by 10th June 2018. The contest winner (and/or the author of a score indicated for Honorable Mention) must realize and send, always by email, all parts of the individual instruments in the same program is used to write the score and also in PDF format by the deadline of 30th June 2018.
If, for any reason, the contest winner (and/or the author of a score indicated for Honorable Mention) not respect this deadline (or the material is incomplete or graphically inconsistent with a professional use) will lose the premium amount and/or execution and publication of the score.

La giuria sarà presieduta dal Maestro Daniele Zanettovich e costituita da eminenti personalità del mondo della musica e della composizione contemporanea a livello internazionale. La composizione della giuria sarà resa nota allo scadere del termine di presentazione della domanda di partecipazione.
Le decisioni della Giuria sono insindacabili e inappellabili.
Essa si riserva la facoltà di non attribuire il premio nel caso nessuna delle opere fosse ritenuta meritevole. La Giuria, a proprio insindacabile giudizio, potrà anche segnalare una o più opere.
Qualora un membro della Giuria individuasse tra i partecipanti al Concorso un parente (entro il IV grado) o un allievo con cui abbia avuto rapporti didattici entro i due anni precedenti alla scadenza del bando dovrà farne esplicita dichiarazione ed astenersi da ogni valutazione riguardante la relativa partitura.

The panel, chaired by Maestro Daniele Zanettovich, will be made up of distinguished, international names from the world of music and contemporary composition. The composition of the jury will be announced after the deadline for participation.
The decisions of the jury are unquestionable and unappealable.
It is possible that the committee will not award the prize if none of the works deserves it. The committee will be able, with an unquestionable decision, to indicate one or more Honorable Mention.
Any juror having or having had a relative (within the fourth kinship degree) or private teaching relationship with a participant during the two years preceding the competition must disclose such relationship and shall abstain from voting on that participant’s performance.

Art.7 – PREMI
Al vincitore del concorso spetteranno:
- un premio di euro duemilacinquecento (€ 2.500), al lordo di imposte e tasse (il premio è eventualmente divisibile);
- un attestato;
- l'esecuzione del brano durante il concerto finale dell’orchestra, nell’ambito della XXII edizione dell’FVG International Music Meeting 2018;
- la registrazione audio/video del brano che verrà inserito nei CD e DVD live del Festival;
- la pubblicazione* da parte della Casa Editrice Pizzicato Verlag Helvetia.
*Coloro che fossero vincolati da un contratto in esclusiva con una Casa Editrice dovranno allegare apposita liberatoria.
Potranno essere altresì segnalati altri brani che, pur non risultando vincitori, riceveranno un attestato e potranno essere eseguiti durante il concerto finale dell’orchestra, nell’ambito della XXII edizione dell’FVG International Music Meeting 2018, nonché inseriti nei CD e DVD live del Festival.
Dopo la pubblicazione dei risultati sul sito dell’associazione (, i compositori dichiarati vincitori verranno contattati a mezzo mail.

Art.7 - AWARDS
The contest winner will receive:
- Euro two thousand five hundred (€ 2.500), gross of taxes (the Prize may be divided between more than one participants);
- the performance of the score during the final orchestra concert which will close the 22nd edition of the FVG International Music Meeting 2018;
- audio/ video recording of the composition that will be included in the Festival’s live CD and DVD;
- published* by Pizzicato Verlag Helvetia publishing house.
*Those who are bound by an exclusive contract with a publishing house must attach a special waiver.
The compositions that will not win but that will be considered worthy by the Jury Panel would be performed during the final orchestra concert which will close the 22nd edition of the FVG International Music Meeting 2018. They would also be recorded (audio and video) and included in the Meeting’s live CD and DVD.
After the results of the competition have been published on the association website (, the winners will be notified by email.

Nulla sarà dovuto da parte dell'organizzazione del Concorso per la realizzazione e per l'utilizzo del materiale d'orchestra nelle occasioni legate alla manifestazione. In tali occasioni, inoltre, eventuali riprese televisive, radiofoniche, registrazioni e diffusione della partitura vincitrice su siti internet sono autorizzate dall’autore della composizione senza alcun onere aggiuntivo a carico dell'organizzazione. L’Associazione conserverà nei propri archivi la partitura e il materiale d'orchestra e potrà riutilizzarlo anche per altre eventuali esecuzioni - patrocinate dall’Associazione - senza spese di noleggio, fermi restando i diritti di esecuzione spettanti all'autore dell'opera.
Ai sensi della Legge 196/2003 si informa che i dati personali relativi ai partecipanti sono utilizzati unicamente ai fini del concorso.

Nothing will be due by the Organization of the competition for the complete orchestral parts and their use in occasions related to the event. The composer of the winning work agrees to the work’s recording (television, radio and audio) and to its posting on websites, without any extra cost to the Associazione Ensemble Serenissima. The Association will have the ownership of the materials, it being understood that the author will keep the copyright. So the Association may use it also in olther concerts - sponsered by the Association - free of charge.
Under the Law 196/2003, we inform you that personal data provided by participants will be used solely for the purposes of the competition.

L’Associazione Ensemble Serenissima declina ogni responsabilità in caso di difettosa o mancata ricezione - per qualsiasi motivo - del materiale inviato, anche se cercherà - nei limiti delle sue possibilità - di avvertire l'interessato nel caso la documentazione fosse giunta incompleta o illeggibile.
L'organizzazione declina ogni responsabilità in caso di violazione dei diritti d’autore da parte dei concorrenti.

Associazione Ensemble Serenissima disclaims any liability in case of failure or incorrect reception of registration documents caused by their transmission via any means and for any reason. Within the limits of its ability, the Organization will try to inform each candidate should the documentation be incomplete or illegible.
The organization disclaims any liability in the event of a breach of copyright by competitors.

La partecipazione al concorso “III International Composition Prize SEM 2018” implica l’accettazione incondizionata, da parte del partecipante, di tutte le norme stabilite dal presente regolamento.

The participation to the competition “III International Prize SEM 2018” implies the unconditional acceptance of all candidates, of the above regulations.

L’organizzazione si riserva la facoltà di apportare - in qualsiasi momento - modifiche al regolamento, dandone comunque immediata comunicazione sul sito internet
In caso di contestazioni unico testo legalmente valido sarà il presente bando in lingua italiana, completo di 11 (undici) articoli. Competente sarà esclusivamente il Foro di Pordenone.

The Organization reserves the right to change due dates and regulations at any time by giving anyway communication on the website
In the event of claims or dispute the only legal valid document is the present notice of competition in Italian, composed of 11 articles. The Court of Pordenone will have exclusive competence.

Summary:String Orchestra Competition
Deadline: 31 May 2018
Date Posted: 25 January 2018
Details: No person is more representative of the Basel musical scene than Paul Sacher (1906-1999). He devoted himself tirelessly to the music of his century in his various roles as conductor, as commissioner of new works and as sponsor and member of numerous guilds and institutions. Amongst the works commissioned by Paul Sacher are Béla Bartók’s “Music for Strings, Percussion and Celesta”, Bohuslav Martinů’s “Toccata e due Canzoni”, Igor Stravinsky’s “Concerto en ré” as well as Arthur Honegger’s Fourth Symphony.

In 1973, Sacher founded the Paul Sacher Foundation which gained international reputation as a leading research institution after acquiring the estate of Igor Stravinsky and collections from Anton Webern and Bruno Maderna.

In 2017–18 years after his death – Paul Sacher’s spirit will be revived once again as the most compelling works of the 21st century are brought to Basel for the first edition of “Basel Composition Competition” (BCC), an international event open to the public, conceived and organised by Artistic Management GmbH in cooperation with the Paul Sacher Foundation and directed by the Head Juror, Wolfang Rihm.

During the selection process, the jury will shortlist ten pieces to be performed at the competition by the Basel Symphony and the Basel Chamber orchestras. The three winning works shall be awarded monetary prizes totalling CHF 100,000.


The three winning compositions shall receive the following prizes at the closing ceremony:
First Prize: CHF 60,000
Second Prize: CHF 25,000
Third Prize: CHF 15,000

The finalists shortlisted to participate in the Competition shall be awarded an acknowledgement of CHF 1,000 each.

The competition is open to participants of any age or nationality.

The competition is open to new, non-premiered works. Previously unfinished compositions finished in time for the competition may be submitted, as long as they have not yet been premiered in whole or in part.

The string section must be at least 4-3-2-2-1 strong.

Works exceeding the maximal duration (20 minutes) may not be accepted for the Competition.

31 May 2018, 23:59 (CET): Registration, including payment of registration fee.
31 August 2018, 23:59 (CET): Submission of the full orchestral score.
30 November 2018, 23:59 (CET): Submission of the orchestral parts.

The exact instrumentation for the Basel Chamber Orchestra and Basel Symphony Orchestra is specified in the regulations. Exceptions are not allowed. Works for solo instruments will not qualify.

Unfortunately, the competition establishes a limit of one work per composer.

In order to evaluate the submitted compositions regardless of the composer’s personality, the Jury shall review them anonymously. The composers’ name shall only be revealed upon announcement of the nominated works. The applicants are very welcome to apply under a pseudonym. Said pseudonym, however, may only be used until the start of the competition performances, where the composer’s presence is requested. All applicants are requested to submit their scores without featuring their name. The composer’s full name and address should be included in the envelope or a separate sheet of paper enclosed with the application, so the Competition Bureau may process the application correctly.

The full score must be submitted in print or in manuscript. Please send it to the specified address within the deadline. Furthermore, the score or manuscript must also be submitted in electronic form.

Please transfer CHF 50 into the following account:
IBAN: CH63 0483 5006 2741 1100 2
Name: Artistic Management GmbH, Basel.
Reference: surname, first name, date of birth


 Black Cedar’s 2018 Call for Scores Commissioning Competition
Summary:Trio call
Deadline: 01 May 2018
Date Posted: 25 January 2018
Details: Eligibility and Awards:
Black Cedar’s 2018 Call for Scores Commissioning Competition is open to composers who desire to further the repertoire of flute, cello, and guitar with an original 10-15 minute composition. The first prize winner will receive a $1,500 U.S. Dollars commission, a world premiere performance during Black Cedar’s 2018-2019 season, and a professional video recording. Additional Honorable Mentions may be awarded to an unlimited number of submissions. These submissions will receive a world premiere performance and a professional video recording but NO CASH AWARD.

The required items listed below must be received by May 1, 2018 at 5:00pm Pacific Daylight Savings Time:

Required item #1 is a score – TWO MINUTE SAMPLE OR COMPLETED – of the proposed work. The score must be submitted in PDF format via email to Black Cedar at Separate parts for flute, cello, and guitar are not necessary.

The working title of the proposed work and the composer’s name SHOULD BE INCLUDED on the score.

Required item #2 is a separate PDF document, emailed to, containing the following information:
• Name
• Address
• Phone
• Website
• Email
• Short Bio of 100 words or less
• Title of submitted work or sample

The subject line for all email communications should read “BLACK CEDAR CALL FOR SCORES” followed by the applicant’s full name.

Required item #3 is the application fee of $10 U.S. Dollars, submitted via Paypal to

Perimeters for the Proposed Work:

Applicants may submit either a COMPLETED WORK of 10-15 MINUTES IN LENGTH or a TWO-MINUTE SAMPLE of a working composition in progress.

The instrumentation must be for three performers on flute (which can be regular C flute, alto flute, bass flute, piccolo, or any alternation of these instruments), cello, and six-string classical guitar.

All applicants will be notified via email no later than June 1, 2018.

The first-prize winning composition will receive a $1,500 U.S. dollars commission, a world premiere performance during Black Cedar’s 2018-2019 season, and a professional video recording.

Honorable Mention award winners will receive a world premiere performance and a professional video recording.

Travel expenses will be the responsibility of the winner.

All contestants will accept Black Cedar’s decision as final.

PDF scores and scores printed into hardcopy by Black Cedar will remain the property of Black Cedar. All applicants will retain Copyright to their submissions.

Black Cedar assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.


 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.

 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:

 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.


 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.

 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’.

 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

 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.


 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.


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.


 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!


 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.

 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.

 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...

 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.

 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:

 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...

 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

 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.

 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

 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.


 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.

 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.

 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.

 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.

 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

 “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.


 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...

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

 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