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 Malta International Composition Competition
Summary:String Quartet Competition
Deadline: 15 December 2017
Date Posted: 19 July 2017
Details: Malta International Composition Competition™ in collaboration with Central Academy of Arts™ | for string quartet (two violins, viola and cello) in any style.

The GRAND PRIZE will be awarded in February 2018. Composition Competition is open to composers of all nationalities, without age limit. Max two compositions for each composer is allowed, max 15 minutes. The work/s may have been performed already. International Jury composes of three well-known composers, President, Final Jury member. At most, 5 final works will be chosen. January 2018, the results will be posted on website. Every chosen candidate will receive confirmation.

The Application must include:

-Application Form, sent by email before 15 December 2017;
-Passport copy;
-CV/Bio in English;
-Compositions in PDF/JPEG submitted through Dropbox;
-Recordings, if any audio format (not obligatory);
-Comments about the work in English (one A4 page);
-Enrollment fee 75 EUR;
-Receipt of the payment, sent along with scores and documents.
Web Site:vfimf.com/composition-competition/

 The John Sanders Memorial Competition for Young Composers
Summary:Liturgical Choral Competition
Deadline: 23 March 2018
Date Posted: 19 July 2017
Details: In order to encourage the composition of music suitable for the liturgy, The Sanders Society will develop a biennial competition for young composers under the age of 30 years. The winning composition, a choral work of up to 6 minutes in length for SATB choir suitable for performance within a cathedral setting, will – if of sufficiently high quality – receive a first performance at a Choral Evensong at Gloucester Cathedral during the summer of 2018.

In addition the winning composer will receive an award of £1000.
The next composition competition for young composers will be judged in April 2018:

• Closing date: 23rd March 2018
• Judging: April 2018
• The winning composer will be notified by email, (confirmed by letter) and details of the winning composition will be announced on 15th June 2018 on this website
• First performance of the composition: Choral Evensong at Gloucester Cathedral: Summer 2018
• Judges:
o Dr. Christopher Robinson
o Bob Chilcott
o Adrian Partington
o Tim Rogers (Encore Publications)
Full rules of the composition competition for young composers and an entry form may be downloaded below:
• Competition Rules
• Entry Form

Entry forms for UK entries can be obtained by post, enclosing a stamped (93p) C5 envelope, from:
The Sanders Society,
144 Tuffley Avenue,
Gloucester
GL1 5NS
Overseas applicants please contact info@sanderssociety.org.uk.


Web Site:www.sanderssociety.org.uk/Competition.aspx

 Chronos Vocal Ensemble Choral Composition Competition
Summary:Choral competition
Deadline: 04 September 2017
Date Posted: 19 July 2017
Details: Chronos Vocal Ensemble is an ambitious non-professional choir based in the Edmonton area. Founded in 2013, we aim to produce high-calibre choral performances in Edmonton, around Alberta and across Canada. We produce an annual season of concerts in Edmonton and perform regularly in the surrounding area. In 2015, we won the Healey Willan Grand Prize in the National Competition for Canadian Amateur Choirs. We have released two recordings: Presenting Chronos Vocal Ensemble (2015) and The Simplest Way: The Music of Trent Worthington (2016). We have toured around Alberta and the Prairies, and anticipate an international tour soon.

Since its inception, Chronos Vocal Ensemble has championed Canadian music and supported the creation of new works. With the launch of the first Chronos Vocal Ensemble Choral Composition Competition, the choir is taking that focus to the next level by bringing new, engaging Canadian works to the attention of the choral community.

We believe in supporting both established and emerging choral talent, creating two eligibility categories: Grand Prize (General) and Emerging Alberta Composers. Anyone who fits the general criteria is eligible to enter. To qualify for the Emerging category, an entry must meet all the general guidelines and also some additional age and education requirements outlined below. Prizes for the competition have been generously provided by an anonymous supporter.

Categories
1. General (All Canadian composers)
To be eligible, a composer must be a Canadian citizen, permanent resident, or landed immigrant. The work submitted must be original, not an arrangement of a pre-existing piece or melody. The composition must not have been commissioned, published, performed or recorded at the time of entry, and must remain so until performed by Chronos Vocal Ensemble within the following year.

2. Emerging Alberta composers
To be eligible for this category, all the requirements of the general category must be met AND the following additional requirements must also be met: The composer must be a current Alberta resident, age 25 and under at time of entry and have not completed a graduate degree in composition.

Prizes
• The winning compositions in each category will be performed by Chronos Vocal Ensemble in the 2017-2018 season.
• Prizes of $1500 for the General category and $500 for the Emerging category.
• Winners will receive a recording of the performance.
• Chronos Vocal Ensemble will champion the winning compositions and endeavour to promote these works further as appropriate (possibly including release on a commercial recording, performance on tour, recommendation to publishers).
• For a competition winner interested in attending the premiere, Chronos Music Society may be able to contribute to costs, depending on timing and budgets.

General Guidelines
• Deadline for submissions is September 4, 2017.
• Entrants must be Canadian citizens, permanent residents or landed immigrants.
• Entries must be unpublished and unperformed.
• Entries must not have been commissioned, published, performed or recorded at the time of entry,
and must remain such until after performed by Chronos Vocal Ensemble within the following year.
• Multiple entries by a single composer will not be accepted.
• Entries that use a text under copyright must provide a letter of permission from the copyright
holder.
• The composer shall retain the copyright of the work.

Composition and Submission Requirements
• Entries should be of a duration between three and five minutes.
• Entries must be original music. Arrangements of existing music will not be accepted.
• Entries must be digitally notated. No hand scores.
• Entries must be submitted electronically in PDF format, copy-ready.
• The composer’s name, text source and any other identifying marks should appear only on the first
page of the manuscript. This will be removed from copies evaluated by the jury.
• If possible, include an mp3 or MIDI file of the composition.
• Entries may be a cappella or include piano or organ accompaniment.
• A cappella works written in open score should include a piano reduction.
• The text material should appear in the score (e.g., on inside cover page) in the author’s original
formatting where applicable, or be submitted as such in a separate document.
• Texts not in English should include a translation, and texts not in English, French, German, Italian,
Spanish or Latin should also include an IPA transcription.
• Entries must include an entry form and a $35 entry fee; for those entering the Emerging category
the fee is $25. Entry forms that do not include a completed and signed declaration will be
considered ineligible.
• Entries must be accompanied by a headshot (colour if possible) and medium-length biography.

All entries must be submitted to the email chronosscores@gmail.com. All entries will be acknowledged by email. If confirmation has not been received within one week of submission, please email admin@chronosvocalensemble.com to inquire.
Web Site:www.chronosvocalensemble.com

 COMPOSITION COMPETITION NEW SCENES DEUTSCHE OPER BERLIN
Summary:Music Theatre Competition
Deadline: 15 September 2017
Date Posted: 19 July 2017
Details: New Scenes IV
International composition competition hosted by Deutsche Oper Berlin and Hanns Eisler School of Music Berlin

CALL FOR ENTRIES
New Scenes for musical theatre. This is the fourth time that the Deutsche Oper Berlin has teamed up with the Hanns Eisler School of Music Berlin to organise the NEW SCENES International Composition Competition. Up to three winners will receive a grant to compose, respectively, a 20-to-30-minute piece of musical theatre and a 3-to-5-minute vocal work for soloist or for singer accompanied by piano, the latter pieces being preliminary studies for the musical-theatre work. Lyrics and libretti are developed in liaison with the Deutsche Oper Berlin and the Hanns Eisler School of Music.

The solo vocal work will premiere in a concert given in early February 2018 in the Deutsche Oper Berlin. The work of musical theatre will be presented for the first time on 11th April 2019 in the Tischlerei of the Deutsche Oper Berlin as part of the NEW SCENES production. It will be directed by three teams of directors from the Hanns Eisler School of Music using student singers from the School and featuring the Echo Ensemble under the direction of Manuel Nawri.

The competition is open to young composers up to the age of 35. Entrants should also submit an excerpt from their own musical-theatre work to back up their entry.

Conditions of entry
Submissions: Entrants are asked to submit the following documents:
- A sample of their work on a piece of musical theatre (score and -voluntary- CD, (2 copies of both))
- Curriculum vitae and address (incl. email address)
- Deadline for entries: 15th September 2017

Process
Announcement of winners: 31st October 2017
Prizes: Up to three prizes will be awarded. A prize takes the form of a grant (€7,000) to compose a 20-to-30-minute piece of musical theatre or a 3-to-5-minute vocal work either for soloist or for singer accompanied by piano.
Submission of vocal work: 15th December 2017
Performance of vocal work: Early February 2018 in the Deutsche Oper Berlin
Submission of piano excerpts / study materials for the musical-theatre work: 1st September 2018
Submission of scores and vocal material: 1st November 2018
Premiere and other performances in April 2019 in the Tischlerei of the Deutsche Oper Berlin
The Tischlerei
The Tischlerei of the Deutsche Oper Berlin opened in the opera house’s former workshop in the 2012/13 season and coincided with the start of Dietmar Schwarz’s incumbency as Director. The 400-capacity venue has adjustable seating arrangements and is the setting for a broad programme focusing on experimental and contemporary forms of musical theatre. The Tischlerei has hosted and continues to host projects featuring a huge diversity of artists such as Gordon Kampe, Matthew Herbert, Ole Hübner, Konrad Boehmer, the band Brandt Brauer Frick, directors of the likes of Jakop Ahlbom, Annechien Koerselman, David Hermann and Daniel Pfluger and performers such as Peaches, Black Cracker, Caspar Brötzmann and NU Unruh. NEW SCENES, the biennial composition competition, forms a major part of the programme. Former prize winners include Evan Gardner (2013), Stefan Johannes Hanke (2013), Mischa Tangian (2015), Malte Giesen (2017), Irene Galindo Quero (2017) and Thierry Tidrow (2017).

Jury
Detlev Glanert (composer) – chairman
Stefan Fricke (music journalist, editorial journalist contemporary music/sound art, Hessischer Rundfunk, hr2 Kultur)
Sebastian Hanusa (dramaturg, Deutsche Oper Berlin)
Prof. Wolfgang Heininger (composer, Hanns Eisler School of Music Berlin)
Prof. Anna Korondi (singer, Hanns Eisler School of Music Berlin)
Prof. Manuel Nawri (conductor, Hanns Eisler School of Music Berlin)
Prof. Christine Schäfer (singer, Hanns Eisler School of Music Berlin)
Julia Spinola (music journalist)

Address
Deutsche Oper Berlin
Dramaturgie
“New Scenes IV” Competition
Richard-Wagner-Straße 10
10585 Berlin
Germany

Contact persons
Dorothea Hartmann: hartmann@deutscheoperberlin.de
Sebastian Hanusa: hanusa@deutscheoperberlin.de
www.deutscheoperberlin.de

The judges’ decision is final.
Web Site:www.hfm-berlin.de/en/news-and-media/latest-news/the-new-scenes-composition-competition-is-announced/

 13th COMPOSITION COMPETITION of the Fribourg International Festival of Sacred Music, Switzerland
Summary:Competition inspired by art
Deadline: 15 October 2017
Date Posted: 19 July 2017
Details: In association with

Espace 2 - RTS (Radio Télévision Suisse)
and the Haute Ecole de Musique Vaud Valais Fribourg (HEMU)

Work for an instrumental ensemble

Since 1985 the organising committee of the “Festival International de Musiques Sacrées, Fribourg” has regularly held a sacred music Composition Competition.
The Competition aims to promote original works which take their inspiration from sacred texts or themes.

RU L E S
1.1 The Competition is open to composers of all ages and nationalities.
1.2 Participation in the Competition is anonymous.
1.3 The work must be completely original and hitherto unpublished. In addition, it must never have been performed publicly or broadcast, either in part or in its entirety.
1.4 Previous prizewinners of the Composition Competition of the Fribourg International Festival of Sacred Music may not enter.
1.5 Composers who have been previously awarded a special mention in one or more of the Composition Competition of the Fribourg International Festival of Sacred Music may enter.
1.6 The composition should be between 10 and 15 minutes long. Performance time must be specified on the first page of the score.
1.7 The submitted scores must be legible, should be no larger than A3 format (42 cm x 29.7 cm), and suitable for use by the musicians.

2. THEME
2.1 The instrumental work should be inspired by the painting “Vanitas - Still life with skull” (Vanitas - Stillleben mit Totenkopf) by Sebastian Stoskopff (1597-1658) which is part of the Kunstmuseum Basel (Switzerland) collection; a photo of the painting can be found at the end of this brochure.

3. TECHNICAL REQUIREMENTS
3.1 The submitted composition must be exclusively for:
• 1 viola, 1 bassoon, 2 trombones (T + B), 2 timpani, 1 harp ;
for a six-person instrumental ensemble.
3.2 The composition should be accessible to young professional musicians.

4. SUBMISSION DETAILS
4.1 Applicants must submit six paper copies of the score, as well as an audio CD (optional) of the work if they have used musical composition and notation software to write the work. Alternatively, applicants who have used a musical composition software may simply provide a link to an audio file of their work in each of the six copies on paper of their short, written presentation (see Section 4.2).
4.2 Applicants must submit six copies on paper of a short presentation of their work (in French, German or English). This should be no longer than one A4 page, and must be enclosed with six copies of the score.
4.3 The six copies of the score and documents set out in Section 4.1 and 4.2, as well as the audio CD referred to in Section 4.1, should not carry a name or signature. Instead, each enclosure should feature a personal identification number, i.e. a 5-digit number chosen by the applicant.
4.4 Each submission must include the duly completed application form, a detailed CV and two passport photos. All documents should be posted in a sealed envelope bearing the 5-digit identification number chosen by the applicant.
4.5 All entries should be postmarked no later than October 15, 2017 and sent to the follow- ing address:

FESTIVAL INTERNATIONAL DE MUSIQUES SACREES, FRIBOURG Composition Competition
P.O. Box 540
CH - 1701 FRIBOURG (SWITZERLAND)
Web Site:www.fims-fribourg.ch/fr/content/concours-de-composition-0

 I. TXISTU BANDS COMPOSITION COMPETITION
Summary:Band Competition
Deadline: 01 September 2017
Date Posted: 19 July 2017
Details: COMPETITION RULES
• Euskal Herriko Txistulari Elkartea calls for the 1st Txistu Bands Composition Conpetition.
• The objective of the contest is to promote the creation of pieces for traditional txistu bands.
• The competition is open to composers of any age and nationality.
• The works must be composed for a traditional txistu band: two txistu players, one silbote player and a percussionist. The two txistu players could use a danbolin (tabor) or little percussion instruments, and the percussion player could play an atabal, four woodblocks, two tomtom, two suspended cym- bals and a chamber bass drum.
• Amplification and electronics can not be used in the compositions.
• The length of the works may not exceed 10 minutes.
• Works presented may be commissioned, but must never have been previously performed either in public or through any digital or mechanical means. Works that have been previously awarded or published will not be admitted.
• Works can be handwritten (legible and without amendments or corrections) or computer-generated. The awarded composer commits to convert the winning composition to electronic format within 30 days after announcement of the prize and submit the winning composition in electronic format to contest organizers.
• The composer will hand in one anonymous copy with no visible personal signature. Works submitted should be enclosed into a sealed envelope which is clearly marked on the outside with the chosen title of the composition, whereas the following details should be included within the envelope: composer's name and surname, phone number, address and e-mail.
• The works must be sent to the following postal address:

Eresbil Musikaren Euskal Artxiboa C/ Alfonso XI, 2
20100 – Errenteria
Gipuzkoa (Spain)

*Closing date will be 1st September 2017.
Web Site:www.musikagileak.com/pdf/17/COMPOSITION_CONTEST.pdf

 14th Pablo Sorozabal International Musical Composition Contest
Summary:String Quartet Competition
Deadline: 28 August 2017
Date Posted: 19 July 2017
Details: The Gipuzkoa Provincial Council announces the 14th Pablo Sorozabal International Musical Composition Contest

The contest is open to all composers born after 1 January 1982 of any nationality and from anywhere. They may enter one or more works, provided that they comply with all the requirements established herein.

Requirements

. The works should be written for string quartet. The style and technique of the work shall be open. The entered work shall be original and may neither be premiered nor published before the contest outcome is announced without the prior authorisation of Gipuzkoa Provincial Council.
. The participants shall acknowledge compliance of both requirements in writing.
. The composition shall not be longer than twenty minutes in length.
. The nal date for entry the works is 28 August 2017

Presentation mode
. You should sent 1 copy of each work on paper, together with its digital copy in PDF (CD / Pendrive).
. The works should be legible and be adequately bound. The pages should be duly numbered.
. The title of the work or slogan should appear on the copies. There should be no personal identi cation.
. A sealed envelope should be enclosed with the title or slogan on its outside and which should include the following data and documents:
- Identi cation details (name and surname(s), postal address, contact telephone number, email, short CV and photocopy of an o cial identi cation document), as well as signed written statement accrediting that the work entered is original, which has not been and will not be published or professionally premiered before the contest outcome is announced.
- Signed written statement that, if the entry wins a prize, the mechanical or public performance rights to premier the prize-winning work.
. The copy of the work and the sealed envelope with the aforementioned documents shall in turn be placed in an envelope where the following shall appear on the outside: «Para el XIV Concurso Internacional de Composición Musical Pablo Sorozabal» (“For the 14th Pablo Sorozabal International Musical Composition Contest”).

It shall be sent to:
Diputación Foral de Gipuzkoa/Gipuzkoa Provincial Council. Koldo Mitxelena Kulturunea.
C/ Urdaneta, 9.
20006 San Sebastián. GIPUZKOA.
SPAIN.

The entry may likewise be delivered by hand at any of Gipuzkoa Provincial Council’s approved or own Registry.

Prizes
. There is a single prize of euros 3,500 and a diploma. The prize money shall be paid in accordance with current tax legislation.
. The Jury may highlight other works, as it deems pertinent, but only a diploma but no nancial prize shall be awarded.
. The contest may likewise be declared null and void in the event of the quality of the entries not being deemed su cient.

The Jury
.The prize shall be awarded on a competitive basis and the entries shall therefore be examined and assessed by a jury made up of three experts in the eld.
.The composition of the jury shall be made public and shall be duly announced by means of its publication in the Gipuzkoa O cial Gazette.

Award
. Following the proposals of the jury, the Provincial Councillor of the Department of Culture, Tourism, Youth and Sport shall announce the winner and may declare it null and void.
. The maximum period to come to a decision and notify the outcome shall be six months. That period shall run from the end of the entry period.
. Gipuzkoa Provincial Council hereby undertakes to premier the prize-winning work, in conjunction with the Musikagileak association of composers.
The winning composer shall undertake to:
. Mention in concerts, recordings and publications, etc. that the work is the winner of the 14th Pablo Sorozabal International Music Composition Contest.
. That the premiere of the work by the Gipuzkoa Provincial Council shall not generate any costs for the latter from renting materials or mechanical or public performance rights.
. The authors of the entered works shall continue to hold the intellectual property rights of those works, without prejudice to any assignments needed to premier the prize-winning works.
. By entering the contest, you fully accept those rules.
. The Provincial Council, through its Library, Promotion and Cultural Dissemination Service, shall settle any query regarding the interpretation of these rules.
. The originals of the unsuccessful entries shall not be returned and shall be destroyed.
Web Site:musikagileak.com/pdf/17/P.%20Sorozabal%20Composition%20Contest.pdf

 27th International Review of Composers – CALL for Scores
Summary:International Call 5 Categories
Deadline: 15 October 2017
Date Posted: 19 July 2017
Details: Composers’ Association of Serbia
27th International Review of Composers
Belgrade, 4– 9 October 2018

CALL for Scores

All submissions should employ the following performing forces:

1) String orchestra (4, 4, 3, 3, 1) or
String orchestra (4, 4, 3, 3, 1) including an ensemble of up to five instruments ad libitum.
Duration: up to 12 minutes.

Eligible instruments: accordion, flute, oboe, clarinet, bassoon, French horn, trumpet, trombone, guitar, harp, piano, percussion (small), mezzo-soprano, baritone

2) Duet – compositions for 2 instruments ad libitum, with or without electronics *
Duration: up to 10 minutes

3) Ensemble of 1–9 instruments ad libitum, with or without electronics *
Duration: up to 12 minutes

* Eligible instruments: flute, oboe, clarinet, bassoon, French horn, trumpet, trombone, guitar, harp, piano, percussion (small), mezzo-soprano, baritone, two violins, violoncello, and double bass.

4) Brass quintet
Duration: up to 10 minutes

5) Compositions for baroque instruments – two baroque violins, baroque viola, viola da gamba, and harpsichord
Duration: up to 10 – 12 minutes

Submission is free and it is not anonymous.

Individual authors may submit pieces in multiple categories, but no more than two works in total.
In adherence to the Statute of the International Review of Composers, only works written over the past three years will be considered. Eligible applicants include authors, performers, associations, and national author societies.

Submissions should include the following:
6) score;
7) recording (if possible);
8) short biography (up to 150 words).
The authors of pieces selected for performance will be obliged to submit complete performance materials, including the following:
1) the parts;
2) electronic realisations (for electro-acoustic pieces);
3) one photograph;
4) biography (up to 150 words);
5) programme note (up to 150 words).

Applications should be emailed to tribina.kompozitora@composers.rs or mailed to:
Udruženje kompozitora Srbije
Mišarska 12–14, 11000 Beograd, Serbia

The deadline for competition applications is 15 October 2017 (CET).

All applications sent by mail should be posted before the deadline and stamped accordingly.
The deadline for online applications is 15 October 2017, but the files should remain downloadable until the end of February 2018 (SoundCloud, YouTube, Dropbox, and the like, but not WeTransfer).
Preferrably, applications should be submitted via email.
Web Site:composers.rs/en/?p=2684

 GAUDEAMUS AWARD 2018
Summary:Young Composers' Award
Deadline: 01 October 2017
Date Posted: 19 July 2017
Details: In 1957 the very first Gaudeamus Award was awarded to a promising young composer, the 22-year-old Peter Schat. Since then professional juries have annually selected compositions, chosen from hundreds of submissions and nominated these works for the Gaudeamus Award. Only five composers younger than 30 years will be eligible for the Award. Winning the Gaudeamus Award is seen as an international recognition of a young composer and his work and an important springboard into their career.

The categories and ensembles for 2018 are announced! Registration for the Gaudeamus Award 2018 starts 1 August 2017. The deadline for registration is 1 October 2017. If you would like to apply for the Gaudeamus Award 2018, please read the setup and terms & conditions here below thoroughly.

CATEGORY 1 | LARGE ENSEMBLE (+ SOLOIST)

Large ensemble: Asko|Schönberg | Insomnio | Ensemble Modelo62
Instruments: 1 flute (+ picc, alto, bass), 1 clarinet (+ bass), 1 oboe, 1 bassoon (no cbsn), 1 trumpet, 1 trombone, 1 French horn, 1 tuba, 1 guitar (electric + acoustic), 1 percussionist, 1 piano (harmonium), 1 harp, 2 violins, 1 viola, 1 cello, 1 doublebass. Maximum number of players is 16; minimum number of players is 6. Soloist is possible. Amplification and electronics are possible.

CATEGORY 2 | VARIOUS DUTCH ENSEMBLES

Electric ensemble: Ensemble Klang
Instrumentation to be selected from: 2 saxophones (all types), 1 trombone (tenor/alto), 1 piano (or keyboard), 1 percussion and 1 electric guitar (or electric bass guitar). Amplification and electronics are possible.
About Ensemble Klang: Its unique yet versatile instrumentation – saxophones, trombone, keyboards, percussion, guitar, electronics – generates the energetic drive and passion of a band.

Small vocal ensemble: Silbersee
From 1 to a maximum of 6 voices, to be selected from: soprano, mezzo, alto, tenor, baritone, and bass. Amplification and electronics are optional. Composers should be aware that there are no practical possibilities for staging: all selected works will be performed in concert form.
About Silbersee: Silbersee specializes in contemporary vocal music and innovative music theatre.

Harp solo (+electronics): Miriam Overlach
Instrumentation: harp solo. Electronics possible, also as a duo for harp and electronics. Theatrical elements appreciated.
Miriam Overlach is an unconventional harpist rooted in the classical tradition but specialized in contemporary music and the development of the newest musical ideas. She loves to work together with composers. Check composingforharp.com and www.miriamoverlach.com for more information.

Piano+electronics: Saskia Lankhoorn
Instrumentation: piano solo. Electronics possible.
Saskia Lankhoorn challenges young composers to write for the piano in two sonic ways.

Either an acoustic chamber work that deals with the possibilities of the instrument as it was designed for classical chamber music using keys and the natural sounds of the strings. Or by using extended techniques, electronics and/or pre-recorded piano material, exploring a larger sound world, making the piano sound larger than live, reflecting this time and reflecting on our perception of time.
Check www.saskialankhoorn.com for more information


CATEGORY 3 | OPEN CATEGORY

Music installations or works for any other instrumentation, up to a maximum of 12 instrumentalists. Also solo works are possible. The use of video and / or (live-) electronics is encouraged
Web Site:gaudeamus.nl/call/gaudeamus-award/

 WRITE FOR CARILLON
Summary:Carillon Competition
Deadline: 01 August 2017
Date Posted: 19 July 2017
Details: Gaudeamus and carillonneur/carillonist Malgosia Fiebig invite young composers (35 years or younger) worldwide to write a new composition for the carillon of the world-famous Dom Tower in Utrecht (The Netherlands). Malgosia Fiebig is a carillonneur/carillonist in the cities of Utrecht and Nijmegen and a big advocate for new compositions for carillon.

CALL FOR SKETCHES

Send a composition sketch with a maximum length of one minute before August 1 via our website www.gaudeamus.nl/professionals. We would like to receive sheet music / PDF and a midi file. From the entries, three composers are selected to work out their sketches into full-length compositions for carillon (length up to 4 minutes).

On August 8th we will announce which three composers are selected. September 1 is the deadline for submitting the full-length composition. On September 3 you are expected in the Dom Tower to attend a performance of Malgosia playing the carillon. She then gives some tips and recommendations for your own composition. On September 9th, the premier of the three compositions will sound!

Deadline: before 1 August 2017

Questions? malgosiafiebig@hotmail.com

Web Site:gaudeamus.nl/en/call/write-for-carillon/

 ROBOT TOY PIANO – PHYLLIS CHEN / RANJIT BHATNAGAR
Summary:Toy Piano Call
Deadline: 15 August 2017
Date Posted: 19 July 2017
Details: Gaudeamus invites young composers (35 years or younger) worldwide to write new notes for the Robot Toy Piano of Phyllis Chen and Ranjit Bhatnagar.

CALL FOR SKETCHES

We invite you to write a sketch of 30-60” seconds.
We ask you to send a score in PDF-format and a midi-file (for the robot toy piano), with mp3, if available, before August 15th.

Workshop / Reading Session Toy Piano, Robot Toy Piano

On August 22nd, the selected sketches will be announced for the Workshop / Reading Session. In the workshop, the selected works will be played and discussed by Phyllis Chen, Ranjit Bhatnagar and the participants.
Friday, September 8 | 14:00 | Muziekhuis Utrecht, The Netherlands

Deadline: before August 15th 2017

Questions?
Phyllis Chen: chenphyllis321@gmail.com
Ranjit Bhatnagar: ranjit@moonmilk.com
Web Site:gaudeamus.nl/en/call/robot-toy-piano-phyllis-chen-ranjit-bhatnagar/

 NEW SAXOPHONE QUARTETS! – KEURIS QUARTET
Summary:Call for Sketches
Deadline: 01 August 2017
Date Posted: 19 July 2017
Details: Gaudeamus invites young composers (35 years or younger) worldwide to write a new saxophone quartet for the Keuris Quartet.

Keuris Quartet is an international saxophone quartet specialized in the interpretation of contemporary classical music. After winning the first prize at the 1st Strasbourg International Saxophone Quartet Competition in 2015, the quartet is seen as one of the most exciting saxophone quartets of this time.

CALL FOR SKETCHES

Send a composition sketch with a maximum length of one minute before August 1. We would like to receive sheet music / PDF and a midi file.

Reading Session

From the entries, a selection will be made for the Reading Session. On August 8th we will make known which sketches are selected.
During the Reading Session all selected sketches are played and you have the opportunity to work with the four members of the quartet. At the end of the Reading Session, a number of composers will be able to develop their sketch for a whole 5-7 minute composition with a possible performance in Gaudeamus Music Week 2018.

Saturday September 9 | 14:00 | Muziekhuis Utrecht, The Netherlands

Deadline: before 1 August 2017

Questions? keurisquartet@gmail.com
Web Site:gaudeamus.nl/en/call/new-saxophone-quartets-keuris-quartet/

 INTERNATIONAL COMPOSITION COMPETITION VITTORIO FELLEGARA – Third Edition 2017
Summary:Trio competition
Deadline: 10 October 2017
Date Posted: 19 July 2017
Details: under the patronage of:
City of Bergamo, Teatro Donizetti, Donizetti Foundation,
University of Bergamo, “Donizetti” Conservatory of Bergamo, MIA Foundation
President of the promoting Committee: Tiziana Moneta Fellegara

REGULATIONS

Art. 1
Associazione Musica Aperta, under the patronage of City of Bergamo, Teatro Donizetti, Donizetti Foundation, Bergamo Musica Festival, University of Bergamo, “Donizetti” Conservatory of Bergamo, MIA Foundation, announces the Third Edition of International Composition Competition Vittorio Fellegara.

Art. 2
The 2017 competition is devoted to compositions for classic Trio (piano, violin and cello). No form of amplification or live electronics is allowed.

Art. 3
The competition will accept compositions by musicians of any nation- ality and of any age, also previously performed, provided that they are neither composed before 2008, nor given to a publisher in any form, or released on the Internet. Compositions must be sent anonymously as explained below.

Art. 4
The duration of the composition must be between 5 and 12 minutes.

Art. 5
Scores must be sent per e-mail, in a digital format, to the following address: concorso.fellegara@gmail.com
The registration deadline is set for October 10, 2017.

Art. 6
Scores must be anonymous. They must be marked using a motto.

Art. 7
If the size of the file to be sent is bigger than 5 Mega Bytes, we recom- mend the use of a file hosting system. In this case too, the name of the composer should not appear on the header of the score.

Art. 8
The application form with the signature and other information required by art. 16 must be sent in separate files, which will accompany the composition.

Art. 9
The application form, available on the website http://www.unibg.it/mabg must be sent also in paper form, with signature, by ordinary post to the headquarters of Associazione Musica Aperta (via Borgo Palazzo 31, 24125 BERGAMO – Italy), no later than October 10, 2017, with the postmark as proof of the dis- patch date.

Art. 10
In case of works containing unusual graphic characters or symbols, the author should provide explanatory tables for a correct interpretation of signs.

Art. 11
Composers can participate with more than one composition, each of which should correspond to a different motto and a separate registra- tion. For each composition the payment of € 40 is required, according to art. 14.

Art. 12
The Jury, appointed by the Promoting Committee and Associazione Musica Aperta, will examine the works and award the following prizes: 1st Prize: 2000 € and public performance.
2nd Prize: 1000 € and public performance.
The Jury has the right to point out other compositions.

Art. 13
The final evening of the Competition, with the performance of the award-winning compositions and the awarding of the prizes will be held in December 2017 at the Sala Piatti in Bergamo.

Art. 14
For each submitted composition the receipt of payment of 40 (forty) € (non-refundable) must be attached, in digital format. If more composi- tions are sent, a single payment may be made for the total of the com- bined entry fees.

Art. 15
Payment must be made by bank transfer as follows:
A) From Italy:
IBAN IT34S0311111102000000000197, bank account in the name of: CONCORSO INTERNAZIONALE DI COMPOSIZIONE FELLEGARA UBI BANCA - Filiale di Bergamo (Italy), Borgo santa Caterina
In the reason for payment must be given the following wording:
Entry fee for International Composition Competition Vittorio Fellegara B) From abroad:
Bank transfer using the following international banking coordinates: BIC code: BLOPIT22
International bank account: IBAN IT34S0311111102000000000197, bank account in the name of: CONCORSO INTERNAZIONALE DI COMPOSIZIONE FELLEGARA
UBI BANCA – Agency of Bergamo (Italy), Borgo Santa Caterina.

Any bank transfer fee will be debited to the payer.
In the reason for payment must be given the following wording: Entry fee for International Composition Competition Vittorio Fellegara

Art. 16
Each composition must be accompanied by the following documents: a) the application form with the following personal data: name, sur- name, date and place of birth, nationality, mailing address, telephone number, e-mail address, title, date, duration and instruments of the composition, motto as indicated on the header of the composition;
b) statement certifying that the composition is unpublished, has never been broadcast, recorded for commercial use, released on the web and awarded in other competitions;
c) declaration of consent to any free audio and video filming and broad- casting of the composition, storage of material produced and its use for a possible record publication.
The following items must also be attached:
d) a brief description of the work (in Italian or English);
e) CV (in Italian or English);
f) a photocopy of a valid identity document of the composer;
g) a recent photograph of the composer;
h) receipt of the registration fee of 40 €.

Art. 17
The winners of the competition are not admitted to subsequent edi- tions.

Art.18
The Jury’s decision is final. By participating in the Competition each entrant agrees to accept it without the right to protest.

Art. 19
The Jury reserves the right not to award any prize if no work is deemed to be worthy.

Art. 20
The application to take part in and to present works for the Competition implies full acceptance of the present competition regulations.

Art. 21
This one is considered to be the only official call. In the event of a dis- pute, Italian language version of this call will be legally binding.

Art. 22
The Court of Milan will be competent to resolve any dispute.
for further infomation: concorso.fellegara@gmail.com http://www.unibg.it/mabg
Web Site:dinamico2.unibg.it/mabg/

 Michele Novaro Competition
Summary:Chamber Orchestra Competition
Deadline: 20 October 2017
Date Posted: 13 July 2017
Details: Regulations

Article 1 - Object

The Associazione Mendelssohn, with the support of Toscana Energia, hereby announces the Second Edition of the «Michele Novaro» International Composition Competition. Michele Novaro (1818-1885) was the composer who, at the age of 29, wrote the music for the Italian National Anthem on the lyrics by Mameli. The competition aims to stimulate composers to create music able to reflect on Italian identity and culture.

Article 2 - Admission requirements
The Competition is open to composers of all nationalities, who on 20 October 2017 are still under the age of 35. Candidates should submit to the jury a composition for chamber orchestra, lasting between 7 and 10 minutes, which is inspired by the values and themes of the Italian Constitution. In this edition, composers should focus on the theme of the “Italian Artistic and Cultural Heritage”, which lies in article 9 of the Italian Constitution. The work should involve a string orchestra, with the possible addition of 1 flute (or piccolo), 1 oboe, 1 clarinet (in B flat or in A), 1 trumpet, percussions (one player). The composition must absolutely be unpublished and unperformed until the end of the competition.
Candidates who have studied under one or more members of the jury, even occasionally or in a master class, will not be admitted.

Article 3 - Submission date
The deadline for the submission of manuscripts is 20 October 2017. Each participant may only present one composition.

Article 4 – Registration and submission of scores.
Registration should be made through the site www.concorsonovaro.it 
All candidates must register on the site and fill in the online application form, following the instructions provided. The following documents must be uploaded:
- scan of identity card or document giving proof of age and nationality;
- two recent photos;
- receipt of the payment of the registration fee of 80 Euros, via Paypal or bank transfer (Iban: IT47M 03069 09473 100000000316, BIC/Swift: BCITITMM)
- completed and signed form (downloadable from the site), containing the following information: home address and phone numbers for any necessary communications, and an email address, curriculum vitae in Italian and English, self-certification testifying to the originality of the composition, which must not have been published, performed or recorded, the candidate's declaration that he/she has not studied under any of the members of the jury, and authorization for the performance, publication, recording and broadcasting of the work. Scores should be submitted through the site anonymously, both in PDF format, and in Sibelius or Finale format, following the instructions and the upload link given in the email received during the registration process.


The personal details of the composers of the three compositions selected for the final will be made known to the jury and public only when the results of the elimination phase of the competition have been announced. Composers who do not reach the final phase will remain anonymous also after the end of the competition.

Article 5 – Phases of the competition
The competition will consist of three phases: the elimination phase, the semifinal and the final. After the elimination phase, a maximum of 25 scores will be selected by the preliminary jury for the following phases, by October 31, 2017.

In the semifinal phase, which will conclude by 15 November 2017, the jury will select up to a maximum of 3 compositions which will pass into the final phase. The title of the works chosen for the final will be published on the site of the Competition on 16 November 2017 and the three finalist composers will be informed by email.

The final phase of the competition will consist of an evening event open to the public to be held in Florence on 27 November 2017 at Teatro Goldoni, within the concert season of Maggio Musicale Fiorentino. In the final concert, I Cameristi del Maggio Musicale Fiorentino, conducted by Domenico Pierini will publicly perform the selected works. After the performances the Jury, present in the concert hall, will meet and decide on the winner. The winning composition will be announced at the end of the evening.

Article 6 – Jury and voting procedure

The preliminary jury for the elimination phase will be composed of three members: composer Cristian Carrara, musicologist Chiara Renino (Casa Musicale Sonzogno) and pianist Roberto Prosseda.

The jury for the semifinal phase will be composed by five members: Krystof Penderecki, President, Cristian Carrara, Richard Danielpour, Giovanni Sollima, Pierangelo Conte (artistic director of Maggio Musicale Fiorentino). The jury will examine the submitted compositions independently and will indicate their choice of three scores electronically, giving them marks from 1 to 5. The three scores that obtain the highest total of marks will pass into the final phase. If there is a tie for third place, further votes will be cast (choosing between “yes” and “no”) exclusively for those compositions. Should there be a further tie, priority will be given to the vote of the president of the jury.

In the final phase, the jury will be the same as in the semifinal phase, with the addition of Piero Ostali (director of Casa Musicale Sonzogno) and Lorenzo Becattini, Italian Member of Parliament, who conceived and promoted the Competition, which has already been presented to the Lower Chamber of Parliament. After the performance of the three pieces, the jury will meet behind closed doors. Each member will fill in a paper form stating their order of preference of the three works, giving number 1 to the piece to be assigned first place, number 2 to second place, and 3 to third. At the end of the voting, the marks assigned by each member will be read and the total for each composition will be calculated. The composition with the lowest total will be awarded the Novaro prize. In the case of a tie, preference will be given to the work that obtained most number ones. Should there be a further tie, priority will be given to the vote of the president of the jury. After the competition, and by the end of December 2017, the marks given by the jury will be published on the site of the competition, together with the title of the works submitted (without giving the name of the composers whose scores did not reach the final stage).

Article 7 – Prizes and expenses refund

The winner of the competition will be awarded the “Novaro” Prize, which includes:
- Publication of the work by the publishing house Sonzogno.
- Commission of a chamber music work by Operabarga Festival, with the Premiere performance at Barga in summer 2018.
- A money prize of 5.000 Euros (gross of withholding taxes).

In addition, three special prizes will be awarded:
- the Maggio Musicale Fiorentino discretional award: the artistic direction of Maggio Musicale Fiorentino will have the possibility to commission one of the three finalist composers a symphonic work, to be performed in the symphonic season of Maggio Musicale Fiorentino,

- the audience prize, awarded by the public attending the final evening, who will vote using a form handed out in the concert hall. It consists of 500 Euros (gross of withholding taxes).
- the critics’ prize, awarded by the critics’ jury, composed of three members: Sandro Cappelletto, Gianluigi Mattietti and Gregorio Moppi. The prize consists of 500 Euros (gross of withholding taxes).

The two finalists other than the winner of the Novaro Prize will receive a refund of expenses amounting to 500 Euros for attending the final event. The Novaro prize cannot be split and the possibility of no prize being awarded is not foreseen. The decision of the jury is irrevocable.

Article 8 - Legal terms
Application to participate in the Competition implies the acceptance of the above-stated rules. In the case of contestations, the Italian version of the announcement is legally binding. All disputes are subject to the exclusive jurisdiction of the court of Milan.
Web Site:www.concorsonovaro.it/regulations.php

 Call for UK composers to join RSNO
Summary:Emerging composers' hub
Deadline: 04 August 2017
Date Posted: 12 July 2017
Details: The Royal Scottish National Orchestra (RSNO) today (Tuesday 11 July) launches the third annual initiative to develop the talents of emerging composers, RSNO Composers' Hub.

Aimed at composers in the early stages of their career, the bespoke scheme is an opportunity for a group of composers to write for orchestra in a range of different contexts, develop skills and creative relationships, as well as acquire an understanding of the business of a major arts organisation.

Up to five emerging composers will be chosen to join RSNO Composers' Hub and spend the 2017:18 Season with the Orchestra. Each composer will write a ten-minute work for full symphony orchestra and the scheme will culminate in a public workshop at the RSNO Centre in Glasgow, April 2018, from which one work will be chosen to be performed by the RSNO during its 2018:19 Season.

RSNO Composers' Hub also provides opportunities to develop meaningful collaborations with the RSNO and the other hub members over a sustained period and to get to know the Orchestra, staff and its audience, receiving guidance from different artistic and business areas.

Award-winning composer and Composers' Hub mentor Stuart MacRae: As an emerging composer, it can be a very big challenge to get your music played by a professional orchestra; but in order to develop approaches to orchestral music, composers need time to collaborate with an orchestra, and the support to try out ideas. As well as writing a new short piece for the orchestral workshop there are opportunities to engage with the RSNO's Learning and Engagement team, and to learn more about the running of the organisation. We are looking for talented and enthusiastic emerging composers of any age, based in the UK, to take part in this exciting scheme."

RSNO Composers' Hub aims to give support to Scottish and UK-wide composers, and to provide the creative space for them to explore and develop. The breadth of the scheme will also mean it is an opportunity for our audiences to extend their knowledge of contemporary music and the compositional process.

Previous RSNO Composers' Hub participant Daniel Kidane, whose work Zulu has been selected to be premiered at the RSNO's 2017:18 Season concerts on Friday 10 and Saturday 11 November: "I'm very much looking forward to further collaborating with the RSNO and hearing my piece Zulu come to life in their 2017:18 Season. It was an absolute pleasure to work with Conductor Holly Mathieson and the energetic RSNO, who did a grand job of work-shopping five excitingly unique new pieces. Such opportunities are vital for younger composers and I'm glad that the RSNO is embarking on its third year of this wonderful scheme."

Composers must submit a CV, one-page letter explaining why they would make a suitable candidate for RSNO Composers' Hub, and two examples of own compositions (preferably at least one for full orchestra), with scores and sound samples via email only to the RSNO's Executive Assistant Joanna Chiang at Joanna.Chiang@rsno.org.uk. The closing date for applications is Friday 4th August at 5.00pm.

From October 2017 the RSNO presents the final Season of Peter Oundjian's tenure as Music Director, opening the Scottish première of Gavin Higgins' Velocity (in association with Resonate - a PRS Foundation initiative in partnership with Association of British Orchestras, BBC Radio 3 and Boltini Trust), Elgar's Violin Concerto with soloist Nicola Benedetti and Stravinsky's The Rite of Spring. For more information on RSNO concerts and events, visit www.rsno.org.uk.
Web Site:www.rsno.org.uk/call-for-uk-composers-to-join-rsno/

 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.com/new-works.html

 ShoutHouse
Summary:Chamber Call for Scores
Deadline: 15 September 2017
Date Posted: 12 July 2017
Details: ShoutHouse is excited to announce their third annual call for scores! One winning composer will receive a cash award and a performance of their work during ShoutHouse's 2017-18 season in New York City. Up to two additional composers may be selected for honorable mentions, and their work will also be programmed during the upcoming season. Winning composers are NOT required to attend the performance (although we hope that they will), but are asked to communicate with ShoutHouse during the rehearsal process.

WHO IS ELIGIBLE TO ENTER?

Any composer, regardless of age or nationality, may submit their work (past winners are not eligible to enter again). While ShoutHouse often performs music that is influenced by genres beyond classical concert music, submissions of all types will be considered.

INSTRUMENTATION GUIDELINES

ShoutHouse's core instrumentation is Flute [picc/alto], Clarinet [bass clarinet], Piano, 2 Percussion, Electric Guitar, 2 Violins, Viola, Cello, Bass, Soprano Voice, and MC (rapper). Submissions for any subset of this instrumentation will be accepted, but preference will be given to pieces for 5+ performers. Scores involving 1-2 additional instruments will be considered. Works involving electronics and/or amplification are acceptable.

HOW TO SUBMIT

1) Send an email to shouthousenyc@gmail.com with the following information:

a) The score of the piece you wish to submit, attached as a PDF file.
b) YouTube/Soundcloud link (preferred), or attached mp3 recording
c) Composer contact information, including phone number, email address, and website (if applicable).

2) Pay the $10 fee by clicking the "Donate" link below. Your application will not be considered until the $10 fee has been paid.

WHY IS THERE AN APPLICATION FEE?

A group of ShoutHouse musicians will personally listen to and look at every piece that is submitted. While we believe that this thoroughness is an important part of making a fair selection, it is a time-consuming process. The application fee will allow us to reimburse these judges for their time, so that they can pay your music the attention it deserves. A portion of the application fee proceeds will also be used to award the winning composer a modest cash prize.
Web Site:www.shouthousemusic.com/call-for-scores/

 Noree Performing Arts
Summary:Composer-in-Residence opportunity
Deadline: 01 August 2017
Date Posted: 12 July 2017
Details: Composer-in-Residence 2017-2018
By Noree Performing Arts
in Collaboration with Traveling Sounds
Total Prize Value: $4,500
Download Information (Click Here)

Application Due Date: August 1, 2017
Send Application Letter and Supporting Material to noreearts@gmail.com
www.noreearts.info | www.travelingsounds.org

Introduction
Founded in NYC in 2014, Noree Performing Arts is a nonprofit arts organization led by Eun Sung Lee (Artistic Director), Yoon Lee (Music Director), Sook Kim (Dance Director), and the Traveling Sounds (Chamber Music Ensemble). Noree creates imaginative, fantastic, and exuberant multidisciplinary art performances for the global community to explore human behaviors, psychology, and contemporary social issues. Its mission is to create a dialogue between the individual and society through innovative and vibrant dance/musical works that encompass a unique mixture of Asian traditional performing arts, new music, classical music, theatre, film, ballet, and modern dance. Noree Performing Arts believes that art is a powerful and universal language that connects communities together. Noree Performing Arts is now inviting applications for a Composer-in-Residence position for 2017- 2018 season. This position is open to composers who are open-minded, interested in creating compositions with Eastern Asian elements (in pitch, rhythm, conception, subject matter, and/or thematic inspiration for the compositions), and willing to collaborate with choreographers who have Korean and modern dance backgrounds. The position is for ten months, from September 1, 2017 to July 30, 2018. There will be the possibility of a renewal for a second year of the residency. Selected composers' works will be performed in Noree's annual festivals, as well as in concerts by Traveling Sounds, Noree's chamber music ensemble. A composer with experience working with theatre and dance is preferred, but not required.

Responsibilities
The Composer-in-Residence will be required to collaborate with the organization starting from September 2017, to provide a new composition for a work conceived for the Ga-Mu, to be present in New York City ten days prior to the Ga-Mu, and to participate in all necessary rehearsals and in the performance. Noree Performing Arts presents two annual performances per season; the Playscape, hosting aspiring performing arts groups and individual artists (November 2017), the GaMu, presenting the organization’s original works (April 2018).

How to Apply
Please email a letter of application and supporting materials to
by August 1, 2017. Materials must include:

• A letter of application: A letter with a description of your compositional experience and style; an explanation of your interests in the Eastern Asian elements; and a short proposal of a new composition that may be suitable for the organization’s annual performance. The letter should no more than one page.
• Two sample music scores and recordings of solo, vocal, or/and instrumental chamber music (for up to four singers or/and instruments) of works that best represent your compositional style. Expert and midi files are allowed.
• Curriculum Vitae with the contact information

*Selected candidates will be invited for an interview with the Artistic Director and Music Director in mid-late August 2017 before the final decision. During the interview, candidates may be asked to provide a short musical sample (no longer than 120 seconds) for a given theatrical scene. An interview in New York City is preferred, but Skype/ FaceTime interview can be arranged for out-of-town candidates.

Compensation
Composer-in-Residence (1st Prize Winner) • Title of Composer-in-Residence in the organization’s publicity materials for the duration of the residency • An opportunity to present a composition in the Playscape (must be a New York premiere, written after August 2016) • A world premiere of his/her composition in the Ga-Mu, as part of a theatre work that is conceived with the collaboration with Noree Performing Arts • Performances by Traveling Sounds in its 2017-2018 season concerts • Invitation to be a member of selecting jury for the next Composer-in-Residence • A professional studio audio recording session in New York City for works intended for the organization for up to 3 hours (can be divided into two 1.5 hour sessions) - valued at $360 • Video recordings and professional photos provided during the Playscape and GaMu - valued at $2,000 • The Composer-in-Residence will be provided up to three musicians for the Playscape and Ga-Mu (piano, violin, viola, cello preferred, up to discussion with the music director once he/she is selected) - valued at $1,200 • Artist honorarium of $1,000 in cash

2nd Prize Winner(s) • An opportunity to present a composition in the Playscape (must be a New York premiere, written after August 2016) • Performances by Traveling Sounds in its 2017-2018 season concerts • Video recordings and professional photos provided during the Playscape- valued at $1,000


How to Apply Please email a letter of application and supporting materials to by August 1, 2017. Materials must include:
• A letter of application: A letter with a description of your compositional experience and style; an explanation of your interests in the Eastern Asian elements; and a short proposal of a new composition that may be suitable for the organization’s annual performance. The letter should no more than one page.
• Two sample music scores and recordings of solo, vocal, or/and instrumental chamber music (for up to four singers or/and instruments) of works that best represent your compositional style. Expert and midi files are allowed.
• Curriculum Vitae with the contact information

*Selected candidates will be invited for an interview with the Artistic Director and Music Director in mid-late August 2017 before the final decision. During the interview, candidates may be asked to provide a short musical sample (no longer than 120 seconds) for a given theatrical scene. An interview in New York City is preferred, but Skype/ FaceTime interview can be arranged for out-of-town candidates.

Past Composers Presented by Noree
Kento Iwasaki 2015-2017
Young Mi Ha 2015 Gamu
Avner Finberg 2016 Playscape
Haeyun Kim 2016 Gamu, 2017 Gamu

Selection Jury (visit websites for biographies)
Eun Sung Lee, Artistic Director
Yoon Lee, Music Director, Director of Traveling Sounds
Yi Qun Xu, Director of Traveling Sounds
Paolo Marchettini, Professor of Composition at Berklee College of Music

Additional jury members will include Juilliiard faculty members to be announced

Web Site:www.noreearts.info/composer-in-residence

 Null-State Call
Summary:Electroacoustic Call
Deadline: 15 September 2017
Date Posted: 12 July 2017
Details: SUBMISSION DEADLINE: 11:59 PM Pacific Standard Time (UTC-8) on 15 September 2017.

ACCEPTABLE WORKS

- Each participant is allowed to submit up to two (2) pieces for instrument(s) and electronics
- There is a US$15.00 entry fee for each submitted piece.
- The submitted piece(s) must have been written within the past seven (7) years.
- Each submitted piece must not exceed fifteen (15) minutes in length.
- There are no restrictions placed on the performance or award history of submitted pieces, nor on the nationality, age, gender identification, and/or experience level of composers.
- Only compositions for instrument(s) with electronics will be considered. Fixed media compositions or works for acoustic instruments alone will not be considered.
- The accompanying electronics may be live, fixed, or some mixture of the two.

SUBMISSION FORMAT

- Every submitted piece must include the following within a ZIP/RAR/7z file or tarball:
- A studio or live stereo recording of the piece in MP3 format.
- A score of the piece or synopsis if the piece does not have a traditionally-notated score.
- A tech rider detailing requirements for performance, including those pertaining to equipment and type of venue.
- The pieces MUST BE ANONYMOUSLY SUBMITTED. Nothing that can identify the composer may be visible on any submitted material.
- Any piece found in violation of the rules may be disqualified with no refund of their entry fee.

PRIZES

* 1st place: Certificate + US$1000.00 commission to write a piece for Chaosflöte.
* 2nd place: Certificate + possibility of a US$1000.00 commission to write a piece for Chaosflöte.
* Additional prizes can be awarded dependent on available funds.

The first-place winner will receive a US$1000.00 commission to write a piece for Chaosflöte. The second-place winner will be eligible for a similar commission, dependent on Null-state securing additional funding.

Web Site:www.nullstate.org/call-for-scores

 Principle Music Leader Opportunity
Summary:Job including composing and music arranging
Deadline: 07 August 2017
Date Posted: 12 July 2017
Details: We are seeking an experienced Music Leader, who is passionate about encouraging the musicality and music-making of children, to lead on our Youth Music funded Kámoši Music-Making programme starting in September 2017-July 2018.

This new, exciting post will deliver a comprehensive music offer for Eastern European Romani heritage and other local children living in Leigh (Wigan Borough). The project aims to build on and develop the children’s music skills, natural talent and enthusiasm.

The leader will have responsibility for planning and leading (largely) term-time based, group music-making activities for 35 Saturday-morning sessions, and at least 5+ public performances over the course of the year.

We are looking for a passionate and enthusiastic Music Leader with a talent/flair for working with and inspiring the musicality of children aged 5-12 years. You will need to be musically versatile and have the following essential skills and experiences:

Music-Proficiency in at least two of the following: Piano/keyboard, voice, percussion, string, brass or wind instrument.
Proficiency in composition and/or music arrangement.
Ability to facilitate music-making across a wide genre of music making styles; including the following key influences: Eastern-European Folk, Balkan, Gypsy-Jazz, would be desirable, as well as Urban and popular genres.
Ability to facilitate high-quality music education sessions within an informal community context.
Proven successful experience of running sustained music-projects, workshops and activities with children.
Co-ordinating the contributions of guest Music Artists employed on the project, as part of the sessional work.
Ability to work as part of a mixed media arts team.
Ability to plan schemes of work with a clear sense of progression.
This post will be subject to DBS Clearance procedures.

Music Leader Freelance Fee: £5,280

If you are interested in applying please complete:

Application form
Equal Opportunities Monitoring Form
Where relevant, web links to examples of your previous work (unfortunately we are not able to return CDs or other hard copies of work submitted to us)
Please email the above to : Mahboobeh@can.uk.com or through the post to:
Community Arts North West
1st Floor
Green Fish Resource Centre
46-50 Oldham Street
Manchester
M4 1LE

Closing date for applications: 5pm, Monday 7th August 2017

Interviews will be held on Thursday 17th August 2017 and

You will be informed of the outcome to your interview by Friday 18th August 2017

We positively welcome applications from disabled people and all sectors of the community.

CAN is an equal opportunities employer. Charity registration no. 277135
Web Site:can.uk.com/whats-on/opportunities/

 As you like it Composition Competition
Summary:Competition, small to large ensemble
Deadline: 15 September 2017
Date Posted: 12 July 2017
Details: Compose or submit an original work
of any duration and scale,
from a solo work to chamber orchestra*.

For the seventh 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.

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.

Each piece should have only its title printed on the cover: the identity of the composer, including address, email, phone number, biography, photograph and programme notes should be placed in a separate sealed envelope also marked with the same title.

The scores may be submitted electronically as pdf files with the composer's pseudonym as heading to the following address:

trevor.huntley@btinternet.com

The accompanying details should be sent in another email with the same heading to the same address.

The deadline for posted entries has been extended to September 15th, 2017 - 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 receipt of the written adjudication following the conclusion of the competition.

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. If 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.

Please contact the ACO at geoffrey.alvarez@virgin.net for further clarification.
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
trumpet
trombone
tuba
timpani (doubling second percussionist)
percussion (one player)
harp
guitar
any keyboard
6 violins
2 violas
2 cellos
1 double bass.

Minimum specification is a single performer
There is a first prize of £1000
and the Mullord Award of £500

The main reason for entering the Competition each year is the excellent and detailed feed-back one gets afterwards.

Recently I had a request to perform the Song Cycle I had entered for ‘Going for a Song 2011’. I have thoroughly enjoyed the experience of trying out (and adopting) the suggestions made by the judging panel.

Song Cycle ‘Seagull’ will be performed by Karen Harries – soprano and the Wymondham Symphony Orchestra on 5th July 2014 – the 30th anniversary concert for the orchestra in Wymondham Abbey Norfolk.

Thank you judging panel – long may the encouragement you are giving composers continue!
Web Site:fiveseasonsmusic.co.uk/AYLI.htm

 World Is Sudden: Summer Lab 2017, BURSARIES OPEN CALL
Summary:Bursaries available
Deadline: 23 July 2017
Date Posted: 12 July 2017
Details: Giles Bailey & CIRCA Projects have invited international artists, performers, musicians, designers and dancers to make artworks in the urban and natural environments of the Northeast region and to propose new ways of discovering the area as a continuum, without divisions between nature and culture, city and countryside, street and path, local and foreigner, human and animal, day and night. Invited artists have created a series of day-long projects which fuse interdisciplinary experiences to each reflect upon a different host venue and their different role as a cultural producer in our region. Participants of the Summer Lab are invited to discover other forms of being, hearing, touching, tasting and seeing the world.

At collective-run, rural community the Burnlaw Centre situated through fields and between trees, we will play on the open air Disc Golf course, harness green energy to generate music with Christian Jendreiko, discuss alternative communities as an open form collaboration with John W. Fail and watch resident Christo Wallers’ curated film programme. We will renew performance poetry with Anne-James Chaton at experimental print studio Foundation Press. Using local collections at The Shipley Art Gallery, Giles Bailey will lead us in creating performance which unlocks the latent power of anonymous artefacts. Rory Pilgrim will explore connections between technology, disability and care as a way of looking at larger political frameworks – interweaving poetry, speech, song and choreography. We will expel our experience with G.O.D.S (Glasgow Open Dance School) who will communally choreograph a ritual based on daily lived experiences of the Northeast.

World is Sudden: Summer Lab is ideal for artists, writers, researchers, performers or people who simply want to take time to view the Northeast region from other perspectives. Over 7 days you will participate in 7 projects with visiting artists as part of a temporary learning community.

We are also offering 6 supported places with fee-waiving bursaries. There are two types of bursaries available:

Northeast bursary: Available to 3 applicants who live and work in the Northeast region and are not currently enrolled in full or part-time Higher Education.

Travel bursary: Available to 3 applicants who live and work outside of the the Northeast region of England. Applicants are welcome to apply regardless of current education enrolment. The award of the Travel bursary acts as a participation fee waiver.

To apply for one of the 6 free places, please submit a 300-word expression of interest, explaining why you would like to take part in the Summer Lab, along with your name and location of residence. Send it to info@circaprojects.org no later than 5pm on Friday 23 June. Make sure to state which bursary you are applying to in the email subject. All applicants will be informed of the outcome by Tuesday 27 June.
Web Site:circaprojects.org/projects/giles-bailey-circa-projects/world-is-sudden-summer-lab/

 First Composition Competition for Accordion Fidelio
Summary:Accordion competition
Deadline: 18 August 2017
Date Posted: 12 July 2017
Details: Welcome to "First Composition Competition for Accordion Fidelio" through Internet.

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

concursofidelio@gmail.com

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

DEADLINE FOR REGISTRATION AND SENDING OF WORKS:

August 18, 2017

Web Site:www.concursodecomposicionparaacordeonfidelio.com

 C&R Summer School 2017
Summary:Summer School
Deadline: None
Date Posted: 12 July 2017
Details: Monday 7 - Friday 11 August
1pm- 6pm daily

C&R’s first Summer School is aimed at artists, musicians, students and professionals and uses an open workshop model, where participants work towards self-directed projects.

This intensive week will give experienced sound practitioners the opportunity to go deeper and the sound curious the chance to learn a whole range of new skills.Working out of our unique 3D sound facility in Deptford, you’ll have the chance use the latest tools, including 3D microphones and our 13.2 playback system.

Participants will work on and off site using recording as an exploratory tool in order to test the potential of recording, processing and playback. The week will give you the opportunity to create a new project from scratch and realise it within the C&R space. We’ll support you in developing, realising and documenting the work.

Each day will take a theme:

Capture

Process/Composition

Playback

Data

Exhibition

There will be accompanying talks and visits by artists and practitioners

Areas covered include:
Field, close mic, binaural and 3D recording, installation design, editing, processing, data sonification, sound for product design, sound for film & moving image, spatialisation & diffusion, and sound for web.

£350 Full Price/ £250 Concession

To book please pay via PayPal via: hello@callandresponse.org.uk , reference: C&R Summer School
Web Site:www.callandresponse.org.uk/workshops/2017/8/7/4mett0lelzcucybh4rboavtljv4spo

 Brush Creek Foundation for the Arts
Summary:Artist residency programme
Deadline: 01 September 2017
Date Posted: 12 July 2017
Details: The artist residency program at Brush Creek Foundation for the Arts offers two sessions per year, which cover programs of two, or four weeks, depending on availability and the applicant’s ranking in jury process. Preference will go to the 4 week requests. The Winter Spring artist retreats run from January – May with the application deadline on September 1 of the previous year. The Summer/Fall session runs from June – November with the application deadline on March 1 of the same year. A blind jury will rank residents based on work samples provided with application. Visual Artists (including but not limited to drawing, painting, printmaking, photography, installation, new media and video) shall provide 10 - 20 images OR a short video. Language Arts (including fiction, non-fiction, poetry, screenplay or script writing, and scientific writing) shall include no more than 20 pages of material. Musicians and composers provide two scores and two music files for listening. Do NOT include your name or website on any work samples. Label with titles only. Selected artists will receive housing, most meals, exclusive studio access and use of the library, lounge and kitchen, which are all nestled in a meadow along the riparian corridor of Brush Creek. Residents are responsible for all supplies, and either transportation to Brush Creek Ranch or Laramie Regional Airport. Applicants will provide work samples formatted to Cafe standards; CV or Resume; Artist Statement and description of your project; and contact information for two individuals capable of providing a character reference. Brush Creek Foundation for the Arts is a separate non-profit program, apart from the Lodge and Spa at Brush Creek Ranch.

Visit www.brushcreekarts.org for more information.
Web Site:www.brushcreekarts.org

 Verdant Vibes Call for Scores + Collaborations
Summary:Chamber Call for Scores
Deadline: 05 August 2017
Date Posted: 12 July 2017
Details: Verdant Vibes is a new music ensemble and concert series based in Providence that brings together artists and musicians creating new work in a variety of genres and media, acoustic and electronic. By highlighting the diversity of music composition and performance of our time, we seek to eschew perceived boundaries, cross-pollinate ideas and influences, and build a greater community celebrating the work of living artists.​

ONLINE SUBMISSION DEADLINE: AUGUST 5, 2017
Please complete this form.
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CALL FOR SCORES: Verdant Vibes is seeking recently composed scores to perform on its third concert season beginning Fall 2017. Concerts will take place in unique venues around Providence, featuring the Verdant Vibes Ensemble along with special guest performers from the local and regional experimental, electronic, and new music scenes. We remain dedicated to presenting music from Rhode Island-based/native composers, but also invite composers from around the world to participate.

Pieces may be up to 15 minutes in duration, scored for one or more performers drawn from the following instruments: clarinet/bass clarinet (1 player), violin (2 players), viola, cello, double bass, percussion, piano/synth/accordion (1 player), electric guitar, electronics, and/or multimedia. The addition of one or two other instruments/voices may be possible; please contact info@verdantvibes.com with specific questions.

Composers may submit up to two works via links to scores in PDF format and streaming audio or video recordings. MIDI is ok, please make sure files remain accessible through September 1. Please do not send submission materials via email. Link to streaming recordings that do not require download (Soundcloud, YouTube, etc.).

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CALL FOR COLLABORATIONS: If you would instead like to propose a collaboration, please upload various work samples and tell us about your ideas in the "Call for Collaborations" field below. Verdant Vibes has worked with dancers, video artists, poets, and improvisational musicians, and invites proposals from all artists who are interested in working with us. Please scroll down to the bottom of this form for instructions on how to submit this type of proposal.

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Participants will be notified of results by September 15. Parts (PDF) for selected works must be received by October 1, 2017. All works will be given equal consideration, regardless of the age, race, gender identity, sexual orientation, or nationality of the composer. Verdant Vibes strives to present a diverse spectrum of voices.

We welcome questions via email: info@verdantvibes.com

Our call for scores will always be FREE — please consider supporting our mission of making new music and employing artists, by making a tax-deductible donation here: https://www.fracturedatlas.org/site/fiscal/profile?id=13447

Web Site:verdantvibes.com/index.html

 PUSH:MUSIC - A residency for emerging electronic musicians
Summary:Artistis residency
Deadline: 14 August 2017
Date Posted: 12 July 2017
Details: Modul:Projects and Brighter Sound present Push:Music, an artistic residency and performance series for emerging electronic musicians at Band on the Wall.

We are looking for six electronic musicians, producers and sound artists of any age* to join us for a series of specially designed weekly workshops focusing on collaboration, improvisation and live performance.

This is a unique opportunity to work intensively alongside diverse artists to develop your skills and create new works, which will be shared in a performance at Texture. Participants will also premiere new collaborative and solo works in a live session on Reform Radio.

Modul:Projects is a collective of electronic musicians and artists. We explore methods for collaboration within electronic and experimental music through unique artistic residencies and events. The residency will be led by our experienced team of facilitators.

Application information:

All electronic musicians* (composers, performers, producers etc.) are invited to apply.

*Musicians must be aged 16+

Workshop will run on Wednesdays from 6-9pm at Band on the Wall on the following dates:

13, 20, 27 Sept.
4, 11, 18, 25 Oct.
1 Nov.
Performance: Weds 8 Nov at Texture
Live session: Sat 2 Dec at Reform Radio (daytime)

Applicants must be available to attend all sessions and performances in person.

APPLICATION DEADLINE: Mon 14 Aug, midnight

APPLY ONLINE

You can download the application form questions so that you can prepare your answers, but applications must be submitted online.**

**We are committed to supporting and meeting the needs of people with learning difficulties or disabilities. If you require the application in a different format or have difficulty completing your application online, please call Modul:Projects to discuss alternative options on 07715 628964 during normal working hours. If you can’t get through, please leave a message with your name and contact details.

For more information about Modul:Projects and previous Push:Music projects please visit modulprojects.com or email dan@modulprojects.com

Web Site:www.brightersound.com/pushmusic/

 Kyiv Contemporary Music Days
Summary:Electroacoustic Masterclass
Deadline: 07 August 2017
Date Posted: 12 July 2017
Details: Platform for contemporary music Kyiv Contemporary Music Days is happy to anounce the launch of the masterclasses for electroacoustic music for composers of any age and nationality with tutors composers Åke Parmerud (Sweden), Alla Zagaykevych (Ukraine), Mehmet Can Özer (Turkey) and Jaime Reis (Portugal) which will take part on September, 4-10 2017 in Kyiv, Ukraine

Students composers will have an opportunity to spend one week working in inspiring creative environment in the campus (accommodation and meal included) which is located on the nature within the city. Compositions of students will be performed on the final concert in the city-centre, together with works of tutors-composers.

The students will be also provided all support they might need during their time in Kyiv.

Working language of the masterclasses is English.

12 students will be selected

Each student will have:

• 2 lessons with composer Jaime Reis
• 2 lessons with composer Åke Parmerud
• 2 lessons with composer Mehmet Can Özer
• 2 lessons wih composer Alla Zagaykevych
• A possibility to write an electroacoustic (with or without live instruments, list of instruments will be sent to applicants) work up to 10 minutes that will be performed at the final concert on September, 10th. Alternatively, an already existing electroacoustic work of the student can be workshopped and performed.
• Accommodation and main meals (breakfast, lunch and dinner) are also provided to all the students and are included in the participation fee.
• All students will have a possibility to attend all masterclasses and lessons with other participants.

The participation fee is 220 EUR
Participation fee for Ukrainian students is 2000 UAH
We also have the ability to provide grants to several participants

To submit an application, please send an email to masterclass@kcmd.eu. Please include:

• 2-3 recent compositions (recordings and scores in PDF - if available - recordings and scores of instrumental compositions are also acceptable as additional material)
• Short bio or CV (indicate date of birth)
• Current photo
• Indicate whether you would want to write a new composition for the masterclasses
• Indicate whether you would like to apply for a grant (in this case please attach a motivation letter and recommendation letter).

A simple octophonic sound system will be provided. Works for electroacoustic music with or without video, live electronics and for acoustic instruments and electronics will be accepted.

Deadline for submission: August 7, 2017

We will notify the selected composers as soon as possible no later than on August 10.

If you have any questions, feel free to contact us at info@kcmd.eu


Web Site:www.kcmd.eu/mc

 2018 USF New Music Festival & Symposium
Summary:Conference Composition Call
Deadline: 02 October 2017
Date Posted: 12 July 2017
Details: Attn: Composers and Scholars
2018 USF NEW-MUSIC FESTIVAL AND SYMPOSIUM
CALL FOR SCORES AND PAPERS/PRESENTATIONS

July 7, 2017 – Tampa, FL

Email contact: Baljinder Sekhon, bsekhon@usf.edu

SUBMISSION DEADLINE: October 2, 2017

This spring, the University of South Florida School of Music will be holding an international new-music festival and symposium. The festival will be held April 6-7, 2018 at the University of South Florida’s campus in Tampa, Florida and will consist of four concerts and four lecture sessions. 20-25 composers will be selected to have performances of their compositions at the festival, and 12-16 scholars will be selected to present a paper/presentation on any topic related to contemporary music. The festival concerts will feature guest chamber ensemble Strings and Hammers, guest guitarist Dieter Hennings, guest saxophonist Doug O’Connor, guest vocalist Thea Lobo, and the final concert will feature the acclaimed McCormick Percussion Group and the world premiere of a new concerto for piano and percussion ensemble by guest composer David Liptak.

Participant Eligibility:

1. Composers and scholars of any nationality and age are encouraged to apply.

2. Selected participants are required to attend the festival. However, the USF School of Music cannot provide any travel or lodging funding for selected participants.*

3. If selected, a registration fee of $60 will be due by December 4, 2017 to secure participation in the festival.

4. Students currently enrolled at the University of South Florida are not eligible.

5. A maximum of three USF alumni will be selected for the festival: one in each category of acoustic composition, electronic composition, and paper/presentation.

6. Requirements and submission procedures for each category (composition and papers/presentations) are outlined below.

COMPOSITION
Composition Eligibility:

- All submissions should be between 5-15 minutes in duration.
- Works composed after 2012 are eligible.
- Works integrating video are acceptable for any category.
- Previously performed compositions are eligible.
- Works of any style, aesthetic, and notation will be accepted.
- There is no entry fee to submit a work for consideration.
- Composers may provide their own performers or submit to one of the categories below.
- Selected composers are expected to register and attend the entire symposium.

The following submission categories are possible:

1. Strings and Hammers (or any subset) – Piano, Violin, Doublebass
(guest ensemble)

2. Percussion Ensemble (maximum of 15 players) – McCormick Percussion Group
(featured USF ensemble, produced by Robert McCormick)

3. Mezzo-soprano voice and Piano – Songeaters
(guest vocalist Thea Lobo and pianist Eunmi Ko)

4. Solo Saxophone (alto or soprano) with piano or fixed media accompaniment
(guest saxophonist Douglas O’Connor)

5. Mixed Chamber ensemble works requiring 2-10 players.*
(produced by the New-Music Consortium)

6. Works for solo instrument or voice.
(produced by the New-Music Consortium)

7. Works for 1-5 performers with fixed or live electronics (1-5 channels).
(produced by USF’s SYCOM)

8. Works for electronic playback only (1-5 channels).
(produced by USF’s SYCOM)

9. Trumpet Ensemble (3-6 players; Bb, C, Eb Trumpets, Bb cornets, flugelhorns, and piccolo trumpets are available).
(produced by Jay Coble, Professor of Trumpet)

10. Trombone Octet (6 tenor, 2 bass – or subset)
(produced by Tom Brantley, Professor of Trombone)

11. Flute Ensemble (up to 8 players, no Contrabass Flute available)
(produced by Kim McCormick, Associate Professor of Flute)

12. Clarinet Quartet/Choir (any combination of clarinets)
(produced by Brian Moorhead, Associate Professor of Clarinet)

*Chamber Ensemble Instrumentation (category 5): The instrumentation may be a subset of the following (if the NMC is to provide the performers):

(2) Flutes/Piccolos
(2) Oboe/English Horn
(2) Clarinets (Bb, Eb, or Bass Clarinet)
(2) Bassoon/Contrabassoon
(2) Saxes (Alto, Tenor, and Bari)
(2) Horn
(2) Trumpets
(2) Trombones
(1) Bass Trombone
(1) Tuba
(2) Percussion
(1) Piano
(2) Violins
(1) Viola
(1) Cello
(1) Double Bass
(1) Soprano Voice
(1) Mezzo Soprano Voice
(1) Tenor Voice

If the composer intends to supply his/her own performers, the composer must indicate so on the submission form. If this is the case, the composer may utilize any instrumentation and any amount of players. *
* If a composer would like to provide his/her own percussionist(s) but utilize the percussion instruments available at USF, please provide a clear list of required percussion instruments with the submission.

Composition Submission Guidelines:

- Submissions will only be accepted online. No hard copy submissions will be accepted.
- Submission Deadline: October 2, 2017
- Each composer may submit 1 work.
- Submissions should include links to a legible score (unless irrelevant) and recording.
- Recordings are encouraged but not required.
- Scores and recordings should be uploaded to an online file sharing service and remain available until November 14, 2017. The recording link can also be hosted on YouTube, SoundCloud, or a similar streaming service.
- Submissions should include brief program notes.
- Submissions should include a brief biography (100 words maximum).
- Submissions including electronics must include a complete list of technical needs (and if necessary, a routing diagram).

COMPOSITION ONLINE SUBMISSION FORM: https://goo.gl/forms/0fbnHH4ZBnZBQm8q2

For additional information, please email Dr. Baljinder Sekhon: bsekhon@usf.edu

Selected composers will be informed no later than November 14, 2017.
The festival registration fee of $60.00 is due by December 4, 2017.



Web Site:music.arts.usf.edu/content/templates/?a=4820&z=159

 3rd Keuris Composers Contest 2018
Summary:Orchestra and ensemble competition
Deadline: 01 February 2018
Date Posted: 12 July 2017
Details: The 3rd Keuris Composers Contest invites composers of all nationalities and ages to participate with compositions for youth symphony orchestra and ensemble (violin, cello and piano). The compositions should be challenging, but accessible and playable for the youth. All participating compositions will be anonymously judged. Six nominated pieces will be performed by Amersfoort Youth Orchestra and Keuris Ensemble during the Final Concert on 12 May 2018 in Flint, Amersfoort (Keuris' place of birth), The Netherlands. http://bit.ly/keuris3

6 Prizes of total € 5000, -
Web Site:www.keuriscompetition.com/

 The Young Composers Competition
Summary:Competition Registrations Now Open
Deadline: 20 August 2017
Date Posted: 12 July 2017
Details: Welcome to the 2017 edition of the Young Composers Competition! The start of this year’s contest is edging nearer and nearer, and we’re super excited to see what this year’s participants will create.

Registrations have now opened, and you can enter this competition via the ‘Register‘ page. Hurry, because all registrations will close on August 20th. In the meanwhile, feel free to head over to our ‘About’ page for more information on the competition.

We’ve got some spectacular judges this year, and over $10,000 in prizes. So make sure to register by the 20th of August!

The Young Composers Competition Team
Web Site:youngcomposerscompetition.com

 RESEARCH ON CONTEMPORARY COMPOSITION CONFERENCE
Summary:Conference Opportunity
Deadline: 17 September 2017
Date Posted: 12 July 2017
Details: The University of North Georgia announces the 2017 Research on Contemporary Composition Conference, to be held at the University of North Georgia December 2, 2017. The conference will feature music performances and research focused on music composed within the past 15 years.

We invite proposals on all topics related to the composition, performance, and teaching of recently composed music. We are especially interested in presentations addressing:

• professional programming of composers of diverse backgrounds
• analytical research on recent composition
• exploration of lesser known composers
• experimentalism
• scholarship of teaching and learning contemporary composition
• interchange with disciplines outside of music
• commisioning contemporary composition
• current roles of composers and performers
• exploration of music for films/games, jazz composition and arranging, and commercial settings

All proposals will be submitted blindly and selected based on relevance and quality of the proposal. We encourage music scholarship on any level (K-12, higher education, community) with emphasis given to research on contemporary (music composed within the past 15 years). We invite proposals in the following formats: lecture/papers, lecture recitals, and workshops (however all presentations will be limited to 30 minutes).

Proposals due by September 17, 2017. Invited participants will be required to register for the conference. Registration for the conference will be open in August 2017.

All events will happen on the University of North Georgia’s Dahlonega campus. This picturesque community, about an hour north of metro Atlanta, is the home of the first major gold rush in the nation and a popular tourist attraction nestled in the foothills of the Blue Ridge Mountains. With stunning waterfalls surrounded by lush forests inhabited by abundant wildlife, the north Georgia region draws visitors who enjoy hiking, mountain climbing, rafting, canoeing, and camping.

Please address questions to the event coordinator, David Peoples - dpeoples "@" ung.edu.


Web Site:digitalcommons.northgeorgia.edu/rocc/

 Claude Debussy in 2018
Summary:Call for works commemorating Debussy
Deadline: 01 September 2017
Date Posted: 05 July 2017
Details: Claude Debussy in 2018: a Centenary Celebration at the Royal Northern College of Music and the University of Glasgow

As part of the weeklong symposium and conference ‘Claude Debussy in 2018’, to be jointly hosted in Manchester and Glasgow from 20-23 March, 2018, we invite submissions for original compositions, up to 5 minutes in length, written for the forces of one of the two smaller chamber sonatas Debussy left unfinished at his death in 1918, i.e.:

– Sonata no. 4 for oboe, horn and harpsichord

– Sonata no. 5 for clarinet, bassoon, trumpet and piano

Based on a CV, list of works, and a clear expression of interest (max. 250 words) specifying your creative interest in and plans for composing ‘in memoriam Claude Debussy’ at this time, we will invite submission of scores and parts to be assessed by a panel of Glasgow and Manchester composers for possible inclusion in either a compositional workshop or a public concert featuring musicians of the Royal Scottish National Orchestra.

Deadline for CV, list of works, and expression of interest, specifying your chosen ensemble and describing your creative concept: 1 September 2017

Deadline for fair copy score and parts (on invitation): 31 January 2018.

Please send expressions of interest (and/or any questions) to Drew.Hammond@glasgow.ac.uk

*Please note that while there will be one composition/ performance workshop in each city, the concert itself will only take place in Glasgow on 23 March.
Email:Drew.Hammond@glasgow.ac.uk

 University of St Andrews Music Centre and Scottish Chamber Orchestra
Summary:Call for scores, three choices of instrumentation
Deadline: 11 September 2017
Date Posted: 05 July 2017
Details: The University of St Andrews Music Centre and Scottish Chamber Orchestra are looking for new work to be featured in a concert on Wednesday 15 November in the Byre Theatre, St Andrews. The programme of the concert is:

‘RESPONSES’

St Andrews New Music Ensemble and Musicians from the Scottish Chamber Orchestra

Henry Purcell – Fantasia 7, transcribed by George Benjamin

Oliver Knussen – … upon one note, Fantasia after Purcell

New Work from Call for Scores

Ethel Smyth – Elegy for violin, horn and piano

Igor Stravinsky – Septet

Composers of any age and nationality are invited to submit unperformed, not yet premiered in the UK, or newly composed works for one of the following three instrumentations:

INSTRUMENTATION OPTION ONE: Clarinet, Horn, Bassoon, Piano, Violin, Viola, Cello

INSTRUMENTATION OPTION TWO: Clarinet, Violin, Viola, Cello, Piano

INSTRUMENTATION OPTION THREE: Clarinet, Violin, Cello, Piano

Newly composed works which ‘respond’ to the music of Purcell or Stravinsky would be particularly welcome. Submissions should not be longer than 10 minutes. Decisions of what score(s) are selected for performance will be made by musicians from the Scottish Chamber Orchestra and staff from the University of St Andrews.

Closing date: Monday 11 September, 2017

Selected score(s) announced: Monday 26 September, 2017

For any queries regarding instrumentation, length or brief please contact Bede Williams on bw23@st-andrews.ac.uk

Submissions of PDF scores and parts should be sent to callforscores@st-andrews.ac.uk



The Scottish Chamber Orchestra is Orchestra in Residence at the University of St Andrews. The two organisations have enjoyed a close relationship over many years with the SCO presenting an annual five-concert season at the University’s Younger Hall, and this new designation is the first professional orchestra residency at a Scottish University.

In addition to the concert season, the University and the Orchestra collaborate on a number of innovative projects, including masterclasses and workshops, the St Andrews and Fife Community Orchestra (StAFCO), and an exciting series of lunchtime concerts giving the rare opportunity to hear SCO players in solo and chamber repertoire.



Formed in 2012, the St Andrews New Music Ensemble has built an enviable reputation for programming, commissioning and workshopping music by emerging and established composers from Scotland and beyond. The ensemble has already given over fifteen world premieres and worked with James MacMillan, Paul Mealor, Sally Beamish, Thea Musgrave, Tansy Davies, Eddie McGuire, John De Simone and Jeremy Thurlow. Recent highlights have included performances at Queen’s University Belfast, MacRobert Arts Centre Stirling, and the Glasgow Royal Concert Hall as part of the Glasgow MINIMAL festival. In April 2017, the ensemble was joined by musicians from the Scottish Chamber Orchestra in a concert of music by Cambridge-based composer Jeremy Thurlow.
Email:callforscores@st-andrews.ac.uk

 XIX edition of the Franco Evangelisti International Composition Competition
Summary:International Composition Contest
Deadline: 14 October 2017
Date Posted: 05 July 2017
Details: Nuova Consonanza announces the XIX edition of the Franco Evangelisti International Composition Competition.
Composers are invited to submit compositions for flute, saxophone, percussion, and piano.

Rules
Composers of any age and nationality are eligible.
The instrumentation includes:
Flute (Piccolo, C, G alto, C bass)
Saxophone (S, A, T, Bar.)
Percussion (one player): vibrafone, glockenspiel, tom toms, snare drum, suspended cymbals, small instruments (tambourine, triangle, blocks…)
Piano

Compositions must be written for three or four of the above players. Pieces should not be longer than 12 minutes. More than one entry is allowed. Entries shall be anonymous. Submitted works may have been previously performed but must not have been published nor awarded any prize in other competitions.

Entries

Candidates are requested to submit scores (along with parts for a possible performance), by email only and in pdf format, to concorsoevangelisti@nuovaconsonanza.it
Scores and parts must be anonymous and marked with a motto. Candidates are also requested to include in the same email:
- personal information and contact details (name, birthdate, nationality, home and email address, phone number);
- a brief resume;
- receipt of payment of the entry fee;
- a statement, certifying that the composition has not be awarded any prizes, and an id document.

Links to audio recordings or computer-generated audio files are welcome, but not required (please, do not attach audio files to email)

The above documents can be written in English, French or Italian.

The deadline for submissions is 14 October 2017 (23:59, Gmt +2). A € 50 entry fee for each submitted score can be paid via wire transfer to Associazione Nuova Consonanza IBAN IT44X0200805108000010653285 – BIC SWIFT: UNCRITM1719

Prize

Three shortlisted compositions, selcted by an international jury, will be played in the final concert in December 2017, as part of the 54nd Festival di Nuova Consonanza.
The winner will be proclaimed after the concert. The first prize is € 1.000, publication of the score by Edizioni Suvini Zerboni and radio broadcast on RAI Radio3.

The jury reserves the right not to award any prize or finalist, to award ex-aequo prizes and to assign a special mention to a work.
Only the original Italian language text of this document is legally valid: in case of controversy, the sole competent court is the court of Rome.

Final concert will be performed by Ensemble Suono Giallo www.ensemblesuonogiallo.net
Web Site:www.nuovaconsonanza.it/index.php?collegamento=15563217437

 Composition workshop 2017
Summary:Workshop Opportunity
Deadline: 15 November 2017
Date Posted: 05 July 2017
Details: Nuova Consonanza announces the 2017 edition of the De musica, ovvero la fabbrica della creatività composition workshop led by German composer Detlev Glanert, in December 2017 in Rome. The course is addressed to composers. International students, both graduate and undergraduate, are mostly welcome. Sessions will be held in English or Italian depending on participants needs.

Exact dates, rules, and location will be announced soon on www.nuovaconsonanza.it

Deadline: November 15, 2017.
Web Site:www.nuovaconsonanza.it/index.php?collegamento=165616606313

 OPUS 2017
Summary:Chamber commission opportunity
Deadline: 28 July 2017
Date Posted: 05 July 2017
Details: Britten Sinfonia has a history of innovation and excellence. Renowned for adventurous programming and a dynamic new approach to performing, over our twenty-five year history we have aimed to expand the horizons of what an orchestra ‘could’ or ‘should’ be and of how people engage with us and our music-making. In 2013, the OPUS composition competition was launched to further this vision with the goal of discovering an exciting new compositional voice.

Now entering its fifth year, former OPUS winners are among the best up-and-coming compositional talents in the UK however, we want to push the boundaries further, widen the parameters, challenge ourselves and our audience and discover new musical terrain and all the creative potential therein.

With this in mind, OPUS2017 presents a new challenge to composers, retaining the core values true to both the competition and Britten Sinfonia as an organisation and evolving the competition and the At Lunch programmes in which the winning commission is couched.

OPUS2017 brings in outstanding pianist-composer-producer extraordinaire Nik Bärtsch from the jazz/funk scene together with an interesting mix of Britten Sinfonia’s musicians to form the ensemble for which the OPUS competition winner will be invited to write. Working with a leading light from a non-classical field introduces a new and exciting edge to OPUS: allowing us to continue the search for a unique, new compositional voice, challenging shortlisted composers to expand their existing musical knowledge, opening the competition to a potential new and alternative range of entrants and audiences alike.

The chosen composer will receive:
– The chance to work closely with Nik Bärtsch and Britten Sinfonia musicians to develop their compositional techniques
– At least three performances of their work (at London’s Wigmore Hall, West Road Concert Hall in Cambridge and Norwich St Andrew’s Hall).
– A commission fee

Those wishing to apply should read the submission brief and FAQs carefully. To apply you should email the following complement of submission materials to info@brittensinfonia.com;
– A completed application form
– A score (without your name printed on it) and recording of a pre-existing work for a chamber group (3-10 players)
– A sketch of up to one minute, plus short written proposal or abstract in response to the creative brief (this should also not have your name printed on it)

OPUS 2017 timeline

Deadline for OPUS2017 open call for scores – Friday 28 July 2017

3-5 applicants shortlisted – August 2017

Expansion and re-working of ‘sketch’ by shortlisted composers – Aug-Sep 2017

Shortlisted composers pieces workshopped – September 2017, London

Winner selected – September 2017

Composition editing/re-drafting period – Sep-Oct 2017

Deadline for final draft – Monday 30 October 2017

World premiere tour of new work – November 2017
Web Site:www.brittensinfonia.com/creative-learning/opus/

 Lynsey de Paul Prize
Summary:Songwriting Grant
Deadline: 01 August 2017
Date Posted: 05 July 2017
Details: The Lynsey de Paul Prize is an opportunity for emerging female singer-songwriters, set up in collaboration with the PRS for Music Members Benevolent Fund, in memory of Lynsey de Paul, who sadly passed away in 2014.

Lynsey was an award-winning songwriter, producer and presenter who helped pave the way for other women writers in music. Lynsey was the first female songwriter to win an Ivor Novello Award, composed 12 top twenty hit records, and achieved success in a business dominated by male songwriters. As a writer and musician, PRS director, and trustee of the PRS for Music Members Benevolent Fund, Lynsey was aware of the challenges women face in the music industry.

In line with Lynsey’s commitment to supporting women songwriters and musicians, £2000 plus mentoring will be available for the Prize winner, and £500 each for two runners up, to help them take the next step in their careers.

The same awareness of the need to support women music creators drove PRS Foundation to introduce their Women Make Music fund in 2011. The desire to draw attention to the gender gap between men and women music creators has allowed PRS Foundation to support almost 100 projects by female musicians through Women Make Music.

Eligibility:

This prize is open to applications from emerging women songwriters, based in the UK, who show great musical ability and promise.

Applicants must have some experience of writing/producing music for an audience, e.g. have published tracks on soundcloud, played live, etc.

They must present a clear case as to what they would do with the grant and how it would benefit their development

Applicants should not have management, label representation, publishing or other business relationships in place at the time of application. We recommend our Open Funding Programme, Women Make Music, and Momentum Fund for artists with teams in place.

This programme is not open to those who have previously received PRS for Music Foundation funding.

The next deadline is 1 August 2017.
Web Site:www.prsformusicfoundation.com/funding/lynsey-de-paul-prize/

 Compose Yourself!
Summary:Woodwind workshop
Deadline: 20 October 2017
Date Posted: 05 July 2017
Details: WORKSHOP: Composing for Flute
with composer Jenny Jackson and flautist Rachel Shirley

This one-day workshop will guide you through the process of composing your own short piece for flute, culminating with an informal performance and recording of all completed pieces. There will be group activities and individual writing time (with one-to-one support from Jenny and Rachel) with plenty of opportunities to hear outcomes and make revisions as your piece progresses. You can compose in any style although the course will be structured to mimic Jenny's own writing practice, starting with a simple line-drawing activity to generate shapes and gestures before developing your piece step-by-step. This will be done by considering the overall character and how it can be affected by pitch choice, tempo, articulation, dynamics and timbral colour. More traditional starting points such as key, time signature and meter will be put to one side as you are are encouraged to imagine, explore and discover.

The course will include a demonstration of the flute, covering useful technical information and practical considerations - such as breathing! - so that you can compose a piece which capitalises on the characteristic sound of the flute whilst being inventive but physically playable, and as successful as possible.

This workshop is ideal for adults with little or no composing experience who want to 'have a go' in a relaxed and friendly atmosphere. Don't worry: there are lots of tricks to make sure you don't get stuck! 18+

Saturday 21st October 2017
10am - 4pm

Cost: £55*

BOOK HERE

Shirley House
31 Psalter Lane
Sheffield S11 8YL
Web Site:www.jennyjacksoncomposer.com/workshops-courses-classes/compose-yourself

 CONTEMPORANEA – ACUSMATICA: ACOUSMATIC FIELD
Summary:Electroacoustic Call
Deadline: 31 August 2017
Date Posted: 05 July 2017
Details: RULES AND CONDITIONS (Versione in lingua italiana a seguire)

Art. 1 TEM - Taukay Edizioni Musicali and Delta Produzioni Associazione Culturale hereby open a call for works for sound art installations.

Art. 2 No participation fee is required.

Art. 3 The call for works will accept installations by artists of any nationality and of any age.

Art. 4 Installations will have to be considered in relation to a specific location of the city of Udine: the deconsecrated San Francesco church. Working on the compositions you will need to consider the remarkable performance space reverberation.

Through the web address:
Http://www.taukay.it/sounds/2017_acousmatic_field_ir.zip
You can download the space impulse response (IR) to use with convolution reverb systems (.wav 48kHz – 24 bit).

For the work setup the following hardware is available:
n. 8 speakers with relative amplifiers n. 2 sub woofer with relative amplifiers n.1 digital console
n.1 laptop
n.1 RME Fireface UFX audio card
n.3 video Projectors
n.3 screens

In addition, the following software installed on the laptop are available:
Max + Jitter Processing SuperCollider Pure Data Arduino Reaper

Any material (hardware and software) out of the above list must be supplied by the artist as well as any speakers in a spatial arrangement other than the indicated one.
Instruments hacking projects and acoustic feedback systems may also be proposed, but also in this case all the materials not in the list will have to be entirely supplied by the artist.

Art. 5 The works selection will take place in two distinct steps:

1) Artists wishing to participate must send the following documents to the e-mail address competition@taukay.it no later
than August 31 2017
a) a pdf file with a detailed description of the installation project and any patches, sketch or scripts that you plan to use in your project. The documents presenting the work must contain all the information necessary to create the installation, in particular:
- a brief artistic description of the installation
- detailed diagrams showing the hardware components and their connections (sensors, arduino boards, objects used for sound sculptures, laptops, mixers, speakers, videos, etc.)
- patches, sketches or scripts used in the project and detailed specifications for any connections between different software using OSC or MIDI (the list of those provided can be seen in item 4 of the regulations). For hacking projects: a flow chart of the signals from generating instruments to emitting tools
- detailed plan of signal routing to mixer console (if used)
- any other instructions or information needed to help understanding and implementation of the plan
b) the signed entry form and other info about the composer listed below:
- name, surname, date and place of birth, sex, nationality, address, e-mail address, telephone number, title, year of composition, date and place of the first public presentation, if any
- a statement agreeing to the rules and conditions of the call for works “Acousmatic Field”
- a statement agreeing to permit the performance of the composition to be recorded, broadcast or telecast, archived and used for CD production without compensation. (Remuneration relative to copyright for public
performance and mechanical reproduction will be safeguarded and distributed by SIAE)
- a statement agreeing to the treatment of personal information in accordance with Italian privacy laws. (D. Lgs.
196/03 - Codice in materia di Privacy).
(For all the statements and info it is possible to fill the entry form with all the requested data. To download the entry form use the following link: http://www.taukay.it/pdf/2017_acousmatic_field_form.pdf)
c) composer biography
d) recent photograph of the composer
e) photocopy of identification document of the composer

2) the selection panel will choose the works to show/present no later than the 10th september 2017 “Contemporanea – Acusmatica” festival in Autumn 2017. Please note that the selection will consider both the artistic aspect and feasibility of the projects presented. The results of the selection will be published on the website www.taukay.it and personally communicated to the participant by e-mail. At this point, the selected candidates (if they have not already done so) must create the installation proposed and send all the necessary materials by email or regular post:
• in compressed digital format (.ZIP), including all necessary information. This must include the artist's surname and the title of the project and must be available to download using a file hosting system like wetransfer or similar. The permanent link from which it is possible download the materials must be sent by email to the email address: competition@taukay.it
• by regular post to the address listed below:

TEM – Taukay Edizioni Musicali
Via del Torre 57/5
33047 Remanzacco – Udine
ITALIA

The call for works administration prefer file delivery of the files related to the work in digital format by internet.

Art. 6 The creation (installation, implementation, monitoring and disassembly and removal) of the proposed project during the Festival will be the responsibility of the artist in close cooperation with the organization.

Art. 7 More than one installations may be submitted.

Art. 8 Due to the very tight time frame, any projects sent by regular mail will only be considered if they arrive before the closing date. We recommend you post projects in good time to ensure you are able to participate in the competition.
In case of delivery by internet, the shipping e-mail will be deemed to be the date of submission.
In case of delivery using ordinary mail from abroad, please specify that the package contents has no commercial value to avoid added custom charges.
(Example to write on the envelope: “Descrizione del contenuto: documenti e CD per audizione privi di valore commerciale/documents and non-commercial audition-CD”).

Art. 9 The selection panel reserves the right to refuse any entry which does not fulfil the indicated requirements.

Art. 10 The selection panel’s decision is final.

Art. 11 By entering the competition and submitting the composition, the composer accepts all the above terms and conditions.
Failing to follow the above terms and conditions will result in the forfeiting of any rights deriving from participation in the call for works.

Art. 12 The competent court for any dispute is the Court of Udine.

For further information, please visit the TEM - Taukay Edizioni Musicali website at: www.taukay.it

Or email us at: competition@taukay.it
Web Site:www.taukay.it/data1/index.php?option=com_content&view=article&id=817:acusmatica-en&catid=80&lang=en&Itemid=561

 CONTEMPORANEA – ACUSMATICA: ACOUSMATIC PREMIERE PERFORMANCE
Summary:Electroacoustic Call
Deadline: 31 August 2017
Date Posted: 05 July 2017
Details: RULES AND CONDITIONS (Versione in lingua italiana a seguire)

Art. 1 TEM - Taukay Edizioni Musicali and Delta Produzioni Associazione Culturale hereby open a call for works for acousmatic music composers.

Art. 2 No participation fee is required.

Art. 3 The call for works will accept unpublished and never performed compositions by musicians of any nationality and of any age. Compositions must be sent as explained below.

Art. 4 Pieces should not exceed TWELVE (12) minutes in length, however consideration will be given to compositions which exceed this length if, in the opinion of the focus group, they are of particular artistic merit. The focus group’s decision on this matter is final.

Art. 5 The compositions must be presented in stereo or multi-channel versions (CD Quality or better). Any multi-channel versions of the composition should be sent along with the stereo version (wav or aif 48kHz 24 bit).

Recording formats:
Stereo format Quadraphonic format 5+1 format Esaphonic format Octophonic format
For the performance the following material is available: n. 8 speakers with relative amplifiers n. 2 sub woofer with relative amplifiers n.1 digital console

The compositions can be sent using two different methods:
A) 1 copy in audio digital format to be sent by internet using a file hosting system like wetransfer or similar.
The permanent link from which it is possible download the materials must be sent by email to the email address: competition@taukay.it
It should be specified in the subject / body of the message the call for works to which you wish to apply (ACOUSMATIC PREMIERE), your last name and the song title.

The compressed file in .ZIP format, including all materials must indicate your last name and the title of the composition.

or

B) 1 copy on CD or DVD to be sent by regular mail to the address listed below.
CDs/DVDs will not be returned and will be stored as documentation in TEM – Taukay Edizioni Musicali archive

TEM – Taukay Edizioni Musicali
Via del Torre 57/5
33047 Remanzacco – Udine
ITALIA

The call for works administration prefer audio file delivery in digital format by internet.
The audio work sent on CD/DVD format or the corresponding audio file sent by internet must contain the last name of the composer and the title of the composition.

Art. 6 In addition to the participant work (and regardless of the delivery methods) the composer should enclose the signed entry form and other info about the composer listed below:

- name, surname, date and place of birth, sex, nationality, address, e-mail address, telephone number, title, length of composition, year of composition
- a statement agreeing to the rules and conditions of the call for works “Acousmatic Premiere”
- a statement certifying that the submitted composition is unpublished
- a statement agreeing to permit the performance of the composition to be recorded, broadcast or telecast, archived and used for CD production without compensation. (Remuneration relative to copyright for public performance and mechanical reproduction will be safeguarded and distributed by SIAE)
- a statement agreeing to the treatment of personal information in accordance with Italian privacy laws. (D. Lgs. 196/03 - Codice in materia di Privacy).

(For all the statements and info it is possible to fill the entry form with all the requested data. To download the entry form use the following link: http://www.taukay.it/pdf/2017_acousmatic_premiere_form.pdf)

The following material must also be included:
- composer biography
- recent photograph of the composer
- photocopy of identification document of the composer

All the info can be sent in digital format by internet to the email address competition@taukay.it

Alternatively it is possible to send the documents listed above also on paper by regular mail to the address listed below:

TEM – Taukay Edizioni Musicali
Via del Torre 57/5
33047 Remanzacco – Udine
ITALY

Art. 7 More than one composition may be submitted.

Art. 8 The closing date is 31st August 2017.
The postmark will be deemed to be the date of submission for the works sent by regular mail.
In case of delivery by internet, the shipping e-mail will be deemed to be the date of submission.
In case of delivery using ordinary mail from abroad, please specify that the package contents has no commercial value to avoid added custom charges.
(Example to write on the envelope: “Descrizione del contenuto: documenti e CD per audizione privi di valore commerciale/documents and non-commercial audition-CD”).

Art. 9 The final decision of the focus group about the performance of the compositions (“Contemporanea – Acusmatica” festival in Autumn 2017) will be made public by 1st October 2017. The results of the selection will be published on the website www.taukay.it and personally communicated to the participant by e-mail.

Art. 10 The focus group reserves the right to refuse any entry which does not fulfil the indicated requirements.

Art. 11 The focus group’s decision is final.

Art. 12 By entering the competition and submitting the composition, the composer accepts all the above terms and conditions.
Failing to follow the above terms and conditions will result in the forfeiting of any rights deriving from participation in the call for works.

Art. 13 The competent court for any dispute is the Court of Udine.

For further information, please visit the TEM - Taukay Edizioni Musicali website at: www.taukay.it

Or email us at: competition@taukay.it
Web Site:www.taukay.it/data1/index.php?option=com_content&view=article&id=817:acusmatica-en&catid=80&lang=en&Itemid=561

 CONTEMPORANEA – ACUSMATICA: ACOUSMONIUM AUDIOR PERFORMANCE
Summary:Electroacoustic Call
Deadline: 31 August 2017
Date Posted: 05 July 2017
Details: RULES AND CONDITIONS (Versione in lingua italiana a seguire)

Art. 1 TEM - Taukay Edizioni Musicali and Delta Produzioni Associazione Culturale hereby open a call for works for acousmatic music composers dedicated to the acousmonium AUDIOR (www.audior.eu).

Art. 2 No participation fee is required.

Art. 3 The call for works will accept unpublished compositions by musicians of any nationality and of any age. Previously performed compositions will be accepted. Compositions must be sent as explained below.

Art. 4 Pieces should not exceed TWELVE (12) minutes in length, however consideration will be given to compositions which exceed this length if, in the opinion of the focus group, they are of particular artistic merit. The focus group’s decision on this matter is final.

Art. 5 The compositions must be presented in stereo versions (CD Quality or better) - (for example wav or aif 48kHz 24 bit). The selected works will be performed with AUDIOR acousmonium by Dante Tanzi (Attached the schemes of the sound projection system that will be used).

The compositions can be sent using two different methods:
A) 1 copy in audio digital format to be sent by internet using a file hosting system like wetransfer or similar.
The permanent link from which it is possible download the materials must be sent by email to the email address: competition@taukay.it
It should be specified in the subject / body of the message the call for works to which you wish to apply (ACOUSMONIUM AUDIOR PERFORMANCE), your last name and the song title.
The compressed file in .ZIP format, including all materials must indicate your last name and the title of the composition.
or

B) 1 copy on CD audio or CD ROM to be sent by regular mail to the address listed below.

CDs will not be returned and will be stored as documentation in TEM – Taukay Edizioni Musicali archive

TEM – Taukay Edizioni Musicali
Via del Torre 57/5
33047 Remanzacco – Udine
ITALIA

The call for works administration prefer audio file delivery in digital format by internet.

The audio work sent on CD format or the corresponding audio file sent by internet must contain the last name of the composer and the title of the composition.

Art. 6 In addition to the participant work (and regardless of the delivery methods) the composer should enclose the signed entry form and other info about the composer listed below:
- name, surname, date and place of birth, sex, nationality, address, e-mail address, telephone number, title, length of composition, year of composition, date and place of the first public presentation, if any
- a statement agreeing to the rules and conditions of the call for works “Acousmonium AUDIOR performance”
- a statement certifying that the submitted composition is unpublished
- a statement agreeing to permit the performance of the composition to be recorded, broadcast or telecast, archived and used for CD production without compensation. (Remuneration relative to copyright for public performance and mechanical reproduction will be safeguarded and distributed by SIAE)
- a statement agreeing to the treatment of personal information in accordance with Italian privacy laws. (D. Lgs. 196/03 - Codice in materia di Privacy).
- if available, a brief presentation of the work (maximum 500 words)
(For all the statements and info it is possible to fill the entry form with all the requested data. To download the entry form use the following link: http://www.taukay.it/pdf/2017_acousmatic_premiere_form.pdf)
The following material must also be included:
- composer biography
- recent photograph of the composer
- photocopy of identification document of the composer
All the info can be sent in digital format by internet to the email address competition@taukay.it
A) Alternatively it is possible to send the documents listed above also on paper by regular mail to the address listed
below:

TEM – Taukay Edizioni Musicali Via del Torre 57/5
33047 Remanzacco – Udine ITALY

Art. 7 More than one composition may be submitted.

Art. 8 The closing date is 31st August 2017.
The postmark will be deemed to be the date of submission for the works sent by regular mail.
In case of delivery by internet, the shipping e-mail will be deemed to be the date of submission.
In case of delivery using ordinary mail from abroad, please specify that the package contents has no commercial value to avoid added custom charges.
(Example to write on the envelope: “Descrizione del contenuto: documenti e CD per audizione privi di valore commerciale/documents and non-commercial audition-CD”).

Art. 9 The final decision of the focus group about the performance of the compositions (“Contemporanea – Acusmatica” festival in Autumn 2017) will be made public by 1st October 2017. The results of the selection will be published on the website www.taukay.it and personally communicated to the participant by e-mail.

Art. 10 The focus group reserves the right to refuse any entry which does not fulfil the indicated requirements. Art. 11 The focus group’s decision is final.

Art. 12 By entering the competition and submitting the composition, the composer accepts all the above terms and conditions.
Failing to follow the above terms and conditions will result in the forfeiting of any rights deriving from participation in the call for works.

Art. 13 The competent court for any dispute is the Court of Udine.

For further information, please visit the TEM - Taukay Edizioni Musicali website at: www.taukay.it

Or email us at: competition@taukay.it
Web Site:www.taukay.it/data1/index.php?option=com_content&view=article&id=817:acusmatica-en&catid=80&lang=en&Itemid=561

 Call for Solo and Chamber Timpani Music
Summary:Percussion Competition
Deadline: 10 September 2017
Date Posted: 05 July 2017
Details: The Solo and Chamber Timpanist’s Initiative is thrilled to announce our first-ever call for new solo and chamber timpani music. SCTI recognizes a shortage in timpani repertoire best attributed to the many challenges faced by composers when writing for this instrument.

One Grand Prize Winner will receive:
$200 cash prize
Live broadcasted performance of composition
Studio recording of composition

Four Runner-Ups will receive:
Live broadcasted performance of composition
Studio recording of composition

Submissions MUST …

Feature the timpani in a prominent and soloistic role.
Have been composed in the last ten years.
Utilize no more than six musicians.
Not exceed fifteen minutes. May be apart of a larger work.
Not exceed the use of one grand piano.

Submission Deadline: September 10th, 2017 11:59 PM EDT
Entry Fee: $0

Suggestions
Submissions may consist of one or more movements from a larger work.
Submissions utilizing electronics and/or fixed media are eligible for consideration.
Multi percussion setups are allowed and encouraged, provided that the timpani serve as a primary voice in the solo/ensemble.
Exceeding the typical range of the timpani or using more than four drums renders your piece less accessible for public performance.
Pieces that utilize instruments that are accessible in conservatory setting are preferred. These include but are not limited to: winds, brass, strings, percussion, piano, celeste, and voice.

Please make every effort to use unconventional sounds tastefully. These include preparing the timpani with cymbals, temple bowls, and crotales, striking timpani bowls and rims, and striking the timpani heads with brushes and/or other unconventional beaters.

Submission Instructions:
Please submit all relevant materials by emailing SCTimps@gmail.com. If files exceed standard sizes, please share a Google-Drive folder with us instead. This will require the use of a Google affiliated email account. Click here for further instructions on creating this folder.

Submission files may include:
Program Notes/Concept
Musical Score
Setup Diagram(s)
Synthetic or Acoustic Recording

Disclaimer: Composers are encouraged to submit multiple pieces. However, only ONE piece per entrant will be considered for a prize. SCTI promises not to share submissions with third parties. SCTI will delete compositions after the contest and performance have passed.
Web Site:www.sctimps.org

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

1. For all aspiring composers in Illinois not currently enrolled in a composition program (Due February 1, 2018):
Works for String Quartet (two violins, viola, cello), sub-groupings of those instruments, or fixed or live electroacoustic works (stereo only) will be selected for a performance at University of Illinois in late February 2018. (Pieces should have a maximum duration of about five minutes). As part of the performance, Champaign-based Fourth Street Records will record the pieces for the composers.
Email your score and parts (or audio for the electroacoustic works) to allscoreillinois@gmail.com and fill out the Statewide Call for Works entry form:
https://goo.gl/forms/INlSPWcABPiiw33F3

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

Email your score and parts to allscoreillinois@gmail.com and fill out the undegraduate/ISYM entry form: https://goo.gl/forms/z0ZJSzaprVlRVwv72
Web Site:www.facebook.com/AllScoreIllinois/

 Department of Music, Stanford University
Summary:Composer Lecturing Post
Deadline: 01 October 2017
Date Posted: 30 June 2017
Details: The Department of Music at Stanford University is inviting applications for the position of tenure-track composer at the rank of Assistant Professor. The envisaged starting date is September 1, 2018.

We are searching for a creative and innovative composer who will show every promise of attaining professional distinction. The successful candidate must have a commitment to high-quality undergraduate and graduate instruction, and ability or potential in teaching and mentoring a diverse student body that includes women, minorities, and others from underrepresented backgrounds.

Candidates should have an interest and expertise in one or more additional areas of performance and/or research, including, but not limited to, theory within or beyond the traditions of Western art music, music performance, and computer music. The successful applicant will also have demonstrated interests that afford effective interactions with a broad range of colleagues. Teaching responsibilities will involve courses primarily in composition and analysis, at both undergraduate and graduate levels, as well as the supervision of individual composition research. Courses may also be taught in the candidate’s additional areas of expertise.

Letters of application, together with a curriculum vitae, list of works and performances, and three to five letters of reference, should be received on or before October 1, 2017 at: https://academicjobsonline.org/ajo/jobs/9269

Additional supporting materials will be requested at a later date. Please do NOT send scores or recordings at this stage of the search.

Stanford University is an equal opportunity employer and is committed to increasing the diversity of its faculty. It welcomes nominations of, and applications from, women, members of minority groups, protected veterans and individuals with disabilities, as well as others who would bring additional dimensions to the university’s research, teaching, and clinical missions.
Web Site:academicjobsonline.org/ajo/jobs/9269

 Call for Scores- Music for Viola and Piano by Women Composers
Summary:Call for viola music
Deadline: 01 August 2017
Date Posted: 28 June 2017
Details: Call for Scores to All Women Composers

Hsiaopei Lee/Chialing Hsieh call for submissions for their second “Music for Viola and Piano by Women Composers” recording project.

First Recording: http://www.centaurrecords.com/store/crc-3332-odyssey.html

Open to any women composers, regardless of age or nationality
Entry Fee: None

Deadline: August 1, 2017.

Instrumentation: Works for viola and piano or viola solo.

Duration: No duration limitation.

Difficulty: All difficulty levels are acceptable.

Audio Files: Composers are strongly encouraged to include links to the audio realization of their works (MIDI or live performance).

The selected works will be publicly performed prior to the recording session. Please indicate if your submitted works have been performed or recorded.

Submitted to: Chialing Hsieh taimiliana@gmail.com
Deadline: August 1, 2017.

Deadline: 1 Aug 2017

Email:taimiliana@gmail.com

 13th SUN RIVER PRIZE Students’ New Music Composition Competition
Summary:Students' competition competition
Deadline: None
Date Posted: 28 June 2017
Details: Chengdu, P.R. China, 2017

◆Sponsored by Sichuan Conservatory of Music
◆Organized by Research Institute of Composition Technique of Sichuan Conservatory of Music
Composition Department 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
Dr. Zhou Long
Pulitzer Prize-winning composer
Distinguished Professor of Music, University of Missouri-Kansas City
Distinguished Professor, Tianjin Conservatory of Music

◆Qualification all students (without restrictions on nationalities regions and ages) are qualified
◆Deadline 08th October 2017
(Entries must be received before 08th October 2017)
◆Mailing Address
Committee of 13th SUN RIVER PRIZE Students’ New Music Composition Competition
Research Institute of Composition Technique,
No.6 Xinsheng Road, Chengdu, 610021 Sichuan, P.R.China
Website http://www.sccm.cn/sunriver/index.html
◆Contact
Mrs. Liang Yi-fei
Mr. Jing Xu
Tel & Fax +86-28-8543 0253
E-mail: sunriverprize2004@qq.com


13th SUN RIVER PRIZE Students’ New Music Composition Competition
Chengdu, P.R. China, 2017

Rule of the Competition

◆Aim of the Composition
New Talent, New Idea
New Composition, New Music

◆Requirements
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.
Qualifications
1. All students (without any restrictions 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 sunriverprize2004@qq.com at same time.

◆Mailing Address
Committee of 13th SUN RIVER PRIZE Students' New Music Composition Competition
Research Institute of Composition Technique,
No.6 Xinsheng Road, Chengdu, 610021 Sichuan, P.R.China

◆ Contact
Mrs. Liang Yi-fei
Mr. Jing Xu
Tel & Fax +86-28-8543 0253
E-mail: sunriverprize2004@qq.com
Deadline: 08th October 2017
(Entries must be received before 08th October 2017)
Website: http://www.sccm.cn/sunriver/index.html
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.

◆Copyright of the Attribution
During the selection of the competition, any prize-winning composition could be published and played permanently and freely by the sponsors.

◆Additional Directions
1. Please do not write your name and any non-musical notes on the composition score, otherwise the candidates cannot enter for the selecting procedure.
2. 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.


Web Site:www.sccm.cn/sunriver/index.html

 Call for Scores and Proposals: Caution Tape Sound Collective/ACWC
Summary:Opportunity for female composers
Deadline: 01 August 2017
Date Posted: 28 June 2017
Details: caution tapeCaution Tape Sound Collective, in collaboration with the Association of Canadian Women Composers (ACWC), is excited to announce a Call for Scores and Proposals for the upcoming 2017/18 season. All women-identified composers and sound artists in Canada are welcome to submit, as well as Canadians in the field who are currently living abroad. Selected composers will be required to join the ACWC if they are not already members.

We will select a total of six works to present at a concert on March 24, 2018 in Toronto, Ontario. All selected composers will receive a minimum $100 honorarium, as well as video and audio documentation of the performance to be used for non-commercial purposes. The instrumentation available for this concert will be violin, flute, cello, piano, and percussion. Expansive percussions set-ups featuring larger instruments may prove logistically challenging. Compositions involving electronics, or acousmatic works, are also welcome provided they do not exceed a stereo setup. A stereo PA, mixer, and audio interface will be available for the concert – any equipment beyond those items will be the responsibility of the composer. Works should be no longer than 15 minutes in duration, however, some exceptions might be made for exceptional pieces/proposals that exceed that length.

Those interested in submitting for the Call for Scores are required to submit ONE score (PDF), as well as their CV. Audio (MP3 or WAV) recordings are highly encouraged, though not required. Please do not submit MIDI realizations. Downloadable links are recommended for larger files.

Those interested in submitting for the Call for Proposals should send a 1-page (maximum) proposal for a new work utilizing the instruments mentioned above, or a subset thereof. They should also include up to two examples of their previous work – scores and, if possible, recordings – as well as their CV. Again – please do not send MIDI realizations. Downloadable links are recommended for larger files.

Composers may submit to both the call for scores as well as the call for proposals, but no candidate will be selected for both. Six composers will be chosen for the concert. The deadline for both calls is August 1, 2017, and successful applicants will be notified by September 1, 2017. All materials should be sent to cautiontapesoundcollective@gmail.com.
Web Site:acwc.ca/2017/06/09/call-for-scores-and-proposals-caution-tape-sound-collectiveacwc/

 2018 Azrieli Music Prize
Summary:Jewish music composition competition
Deadline: 05 November 2017
Date Posted: 28 June 2017
Details: Opportunities

The Azrieli Prize of $50,000 CAD is awarded biennially through a competitive process to a composer who has written the best new major work of Jewish Music for orchestra and soloist. Open to the international music community, individual works can be nominated by individuals and institutions from all nationalities, faiths, backgrounds and affiliations, and submitted to the AMP Jury through the open call for scores. Works may have been premiered within ten years of the award date, but must not have a significant performance history, and must not have been commercially recorded.

The winning work will be performed by a major Canadian orchestra as part of the AMP Gala Concert, scheduled for ocotber 15, 2018 and subsequently audio recorded to commercial quality.

The winning composer will be invited to attend the rehearsals and performance of their work, and be publicly honoured at the AMP Gala Concert.TO nominate a work for the 2018 Azrieli Prize before Nov. 5, 2017, please visit: http://www.azrielifoundation.org/music/the-azrieli-prize/azrieli-prize-nomination-form/
Web Site:www.azrielifoundation.org/music/the-azrieli-prize/azrieli-music-prize-eligibility-guidelines-dates/

 NEW YEAR, NEW MUSIC
Summary:Young Composers’ Competition
Deadline: 13 October 2017
Date Posted: 28 June 2017
Details: Royal Northern Sinfonia: Young Composers’ Competition

• An opportunity for composers studying at undergraduate or postgraduate level in the 17/18 academic year, at a UK university or conservatoire to write a piece of up to 8’ duration for chamber orchestra instrumentation.
• Successful applicants will have their composition workshopped by Royal Northern Sinfonia with the advice of a distinguished jury on Wednesday 22 November 2017.
• Three selected compositions will be performed by RNS to a live audience at Sage Gateshead on the evening of Friday 26th January 2018, conducted by Music Director Lars Vogt, during which a winner will be selected.
• First prize: £1500, Runners Up (x2): £1000

DEADLINE: 5PM, FRIDAY 13 OCTOBER 2017

Please be encouraged to share this with anyone who might be interested.
Enquiries and further information: classical@sagegateshead.com

http://www.sagegateshead.com
Web Site:www.sagegateshead.com
Email:classical@sagegateshead.com

 Alabama Orchestra Association
Summary:Orchestra composition competition
Deadline: 01 August 2017
Date Posted: 28 June 2017
Details: Since 2000, the AOA has been active in the commissioning of new works of music for the All-State Orchestra Festival. Each year, one or more works has received its World Premiere Performance at the All-State Orchestra Festival. In addition, the composers have spent the weekend in residence at the Festival. Previous composers have included Stella Sung, Alan Moss, David Durant, James Grant, David Ott, James Woodward, Sandra Dackow, James Lee, Lanette Lind, Philip Wharton, Robert J. Bradshaw, Ryan Fraley, Daniel Leo Simpson, Sean Pallatroni, Elizabeth Lim, David Rimelis, Michael Foumai, James Danly, Roger Zare, and Alejandro Basulto-Martínez.

In February of 2006, the membership of the Alabama Orchestra Association resolved to make the annual commissioning program into the Alabama Orchestra Association Composition Competition.

The winning composer will receive a cash award of $1,500. In addition, the winning composition will be performed at the 2018 Alabama All-State Orchestra Festival at the University of Alabama in Tuscaloosa on February 11, 2018. The winning composer will also be awarded a residency at the 2018 Alabama All-State Orchestra Festival, which will include airfare from any point in the continental US, accommodations, transportation, and meals.
Web Site:www.alabamaorchestraassociation.org/index.php/contest/call-scores

 NEW MUSIC INCUBATOR KONSTANCIN
Summary:EU collaborative research project
Deadline: 15 August 2017
Date Posted: 28 June 2017
Details: New Music Incubator Konstancin is a project that brings together professional new music practitioners (musicians, composers, improvisers, electronic music artist, sound artists, etc.) from the EU countries for a period of collaborative creative research. The participants will be professional artists who collectively employ a range of approaches to music and sound production including improvisation, composition and sound art, as well as classical and non-classical performers and composers. Through this meeting, New Music Incubator hopes to promote mutual professional development, skill sharing and the development of strong networks for future projects.

New Music Incubator Konstancin is organised in 2 phases:

Phase I
18 – 23 September 2017

20 selected new music practitioners from various EU countries meet at Konstancin, Poland. For three days, the participants will create music together and will be divided in new groups every day. 22 September, the groups will perform a public concert as a Fringe event on the Warsaw Autumn Festival.

Phase II
3 days in February 2018
(possibly 17 – 19 February 2018, to be confirmed in October 2017)

The participants meet again in Brussels to re-develop, rehearse and perform some of the works for a public concert at Q-O2, Molenbeek. This phase may result in live recordings/streaming of the works and will complete a creative cycle for the participants.

APPLICATION

If you would like to apply, please send an email to Martin Q Larsson at martinq@martinq.com , outlining why you would like to be part of this project. Please also attach a copy of your current CV with links to your website. We would be grateful if you could do this as soon as possible, and certainly no later than the 15th August 2017, (23.59).

The final selection of participants will be based both upon consideration of the artist’s motivation and artistic abilities, but also on creating a dynamic group, with a mix of instrumentation and a variety of artistic approaches.

If you are selected, the project will take care of all costs, including housing, food, courses, equipment and transport from Warsaw and Konstancin and back. Participants are only expected to pay for their flights back and forth to Warsaw. For Phase II in Brussels, the project will also cover travels and accommodation costs.

If you have any queries regarding your application or the project, please email Martin Q at martinq@martinq.com, or call +46701738569.

We look forward to hearing from you!

Martin Q Larsson (NMI) & Alicja Swierczek (ECSA)

Web Site:newmusicincubator.com/nmi-konstancin-2017/

 Call For Scores and Commission Prize
Summary:New Music Festival Seek Scores
Deadline: 30 July 2017
Date Posted: 28 June 2017
Details: Spontaneous Combustion New Music Festival, in conjunction with Boston-based ensemble Hub New Music and Orlando Cela, is offering a Call for Scores and Commission Prize. The selected winning works will receive multiple performances (at least 3) during a tour of the west coast USA in January 2018.

Eligibility:
Open to everyone in the world. Scores may have already been performed, premiered, published, won a prize, or brand new. Your presence at the performances is not required.

Prizes:
Besides the multiple performances of your work, winners will receive a recording of at least one performance, and 2 complimentary (will call) tickets to all festival concerts that will perform your work (which you may give to friends if you can't be there).

There are no cash prizes and the festival cannot provide travel stipends if you attend the performance. The festival will do its best to provide lodging and a meal for each performance you can attend.

10 honorable mentions will win a pair of tickets to any festival concert (also transferable to friends in case you do not live in any of the festival cities.)

Spontaneous Combustion Call For Scores
Entry Fee
$15 per submission. Enter as many works as you like.

Deadline
Submit your score by midnight Pacific Standard time, on Sunday, July 30, 2017.

Winners will be announced by August 30 on this web page and the festival Facebook page.
Web Site:scnmf.org/call-for-scores/

 Kaplan Commissioning Project Saint Mary’s University Concert Band
Summary:Concert Band Competition
Deadline: 01 October 2017
Date Posted: 28 June 2017
Details: Kaplan Commissioning Project
Saint Mary’s University Concert Band

The ninth Helen and Sam Kaplan Foundation Commission for a new Concert Band composition written by a composer of Jewish heritage is outlined below. Any questions prior to application submission should be directed to Dr. Janet Heukeshoven, Director of Bands, at Saint Mary’s University of Minnesota. jheukesh@smumn.edu

Amount of Commission:

• $7,000.00 plus travel/expense allowance for a campus residency at the premier of the composition.

Description of the Composition:

• The work will be scored for standard full Concert Band instrumentation, appropriate difficulty level for advanced high school bands and small college ensembles.

• Length of composition: approximately 5-8 minutes in length.

• The composition must be based on Jewish melodic or thematic material, either folk or religious sources.

Expectations of the composer:

• The selected composer will interact with SMU band students regarding the composition during the composition process. He/she will attend the premier and present a lecture/seminar on the commissioned work and music composition in general. Past commissioned composers have spent 4-6 days in residency in Winona surrounding the premiere.

• The composer will provide SMU a full score and one set of parts or appropriate pdf files. Additional duplication of parts as needed for the ensemble will be the responsibility of the university.

• The composer retains all copyrights and will acknowledge SMU’s role in the commission of the composition upon future publication and/or distribution.

• The SMU Concert Band will present the premier performance at a mutually agreed upon concert date during the 2018-19 academic year. The composer will have the opportunity to conduct the premier performance if desired.

Application process and deadline:

Interested Jewish composers must send the following:

• Letter of introduction and intent
• Resume/Vitae
• Scores and recordings of three representative compositions, either electronically (pdf score files, mp3 recordings, sound cloud links, etc.) or hard copies.

If you wish to have printed materials returned send a SASE for return of materials.

Application deadline for the 2017 Commission is October 1st, 2017.
Performance date will be negotiated with the selected composer.

Email application documents to jheukesh@smumn.edu

Any printed scores/media should be sent to:

Dr. Janet Heukeshoven
Kaplan Commission Project Chair
Saint Mary’s University Music Department
700 Terrace Heights #58
Winona, MN 55987-1399

Scores submitted for consideration need not be band compositions, but must demonstrate wind and percussion writing. Composers who have applied for the Kaplan/SMU Commission in the past are encouraged to re-apply, except for the most recently commissioned composer.

Application materials (unless return requested) will be kept in the Kaplan Commission Project Archives for study by SMU music majors.

For additional information please contact Dr. Heukeshoven at 507-457-1675 (office), 507-429-5148 (cell) or email: jheukesh@smumn.edu.

Past Commissioned Composers:

2000: Steven Barnett: Halleil: O Praise the Lord, for concert band
2002: Lee Kesselman: Let Peace Descend, for choir and wind ensemble
2004: Philip Rothman: Departure Point, for solo piano and wind ensemble
2006: Judith Lang-Zaimont: Israeli Rhapsody, for concert band
2008: Marc Kibrick Bernstein: Ashkenazi Fathers, for jazz combo (with soloist or soloists) and concert band
2010 Paul Richards: If You Could Only See the Frog, for concert band
2012 Larry Bitensky: Katanya, for concert band and narrator
2015 Steven Rosenhaus: Ayshet Chayil, for concert band and baritone voice

Deadline: 1 Oct 2017
Email:jheukesh@smumn.edu

 LSO Soundhub Applications for September 2017
Summary:Platform for emerging composers
Deadline: 28 July 2017
Date Posted: 28 June 2017
Details: LSO SoundhubA platform for emerging composersBased at LSO St Luke’s, LSO Soundhub provides a flexible environment where composers can explore, collaborate and experiment, with access to vital resources, support from industry professionals and LSO members and staff.

Soundhub is a composer-led resource, responding directly to the needs of those using it: a supportive framework for artists to try out new ideas, develop existing work and benefit from peer-to-peer networking and support.

The programme is open to UK-based composers and builds on the LSO’s ongoing investment in emerging talent, in particular through the Panufnik Composers Scheme.

Applications for September 2017

Applications for new Soundhub Members and Associates are now open.

Four new Members will be offered the opportunity to undertake projects with LSO musicians or independently, membership being for one year from September 2017 initially. Applications to join (or renew) Soundhub Associate membership are also open.

Please download the Applications Guidelines below for full details:

Soundhub Applications Guidelines (PDF)

Eligibility

- Soundhub is open to UK-based early-career composers who create music in any medium and who demonstrate an active interest in, and some experience of, working with classical musicians.
- All candidates must be either British national, studying in the UK or resident in the UK for at least three years and at least 18 years of age by September 2017.
- Previous Soundhub Members cannot reapply for Soundhub Membership (individuals or collectives) but may reapply for Associate membership
- There is no upper age restriction, so if composers feel this offers a development opportunity then they are encouraged to apply
- It is possible to apply both to this programme and for Jerwood Composer+ membership, if eligible, but if selected you may only participate in one, at LSO’s discretion
Application formsPlease complete either online application form, including uploading your CV:

> Soundhub Member application form> Soundhub Associate application form

Additionally, please complete our online Equal Opportunities Form. The form is not used in the selection process and is kept in an anonymous format for monitoring purposes only.

> Equal Opportunities Monitoring form

Deadline: Friday 28 July 2017 (midday)

Applications
Web Site:lso.co.uk/lso-discovery/the-next-generation/lso-soundhub.html

 MUSICA NOVA 2017
Summary:Electroacoustic Call
Deadline: 05 November 2017
Date Posted: 28 June 2017
Details: You can register and send the fee now!
1. The competition MUSICA NOVA was for the first time realized in 1969.
2. Composers, irregardless of their age and nationality are invited to submit their works of electro-acoustic music created after 1st January 2013.
3. Category A is open to compositions of autonomous art electro-acoustic music (tape music), or only one independent movement.
4. Category B is open to compositions of autonomous art electro-acoustic music, or only one independent movement, for acoustic instrument/voice/ensemble plus electronic media. Send one of realized complete version of the composition, sent only electro-acoustic without the instrumental or voice part will be excluded.
5. Each composer may submit only one entry to each category in duration of no longer than 20 minutes, and the work may not have been awarded a prize in another competition, nor been submitted to previous MUSICA NOVA competitions.
6. Competition entries in both categories must be submitted with the name of the composer specified.
7. Members of the jury cannot take part in the competition.
8. The jury of the competition shall be appointed by the leadership of the Society for Electro-acoustic Music and composed of leading composers of electro-acoustic compositions, musicologists, critics, and recording engineers specializing in the electro-acoustic music field.
9. All materials should be received (uploaded) to the November 5th 2017:
Lenka Dohnalová - Arts and Theatre Institute, Celetná 17, 110 00 PRAHA 1, Czech Republic
1. Entries into category A and B, recorded on a sophisticated technical level and in stereo /or format 5.1/ must be submitted in the medium of CD or DVD, and indexed by absolute time
2. Entries into categories A and B shall be accompanied by a score (if necessary), technical and artistic description, name of studio where work was produced, their durata, graphs, etc., to be judged by the jury
3. Entries into categories A and B shall be accompanied by a brief artist statement, short biography, nationality, address, telephone number, fax, and e-mail (attached form), see attached form
4. N.B: You can register electronically on musicanova.seah.cz and upload your composition (in MP3 format) on the FTP server for better preparation working of jury. Your composition will be accessible only for you and jury.
10. The entry fee for each composition is 30 € (or equivalent). If you register electronically, you can pay on-line via paypal (paypal@seah.cz) or Way of payment: IBAN: CZ48 0800 0000 0000 1404 5349, BIC: GIBACZPX, address of the bank: Ceska sporitelna, a.s., Konevova 4, 130 00 Praha 3, Czech Republic
Please, hold the distinction of address postal for sending CD (Lenka Dohnalová - Arts and Theatre Institute, Celetná 17, 110 00 Prague 1, Czech Republic) and address official that could be write on the bank order or checks /SEAH, Jeronýmova 7, 130 00 Prague 3/. If your transfer charges would be to expensive, write to: lenka.dohnalova@divadlo.cz, please.
11. The audio recordings entered in the competition shall not be returned to the composers and shall remain in the Society for Electro-acoustic Music archives.
12. 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.
13. Prizes shall be awarded for the winning entries after the jury has announced its verdict, which cannot be appealed. The jury can decide to either combine, divide or not award some of the prizes.
14. Prizes in Categories A and B include: First Prizes (equivalent of 15 000 Kč), Honorable Mentions and Special Prizes for Czech composer.
15. All entrants shall be notified of the verdict by the jury on the awarding of prizes and honorable mentions by 30 November 2017.
16. Awarded compositions will be presented during the award concert in December 2017 in Prague.
17. The awarded compositions will be performed in concerts organized by the Society for Electro-acoustic Music and broadcast by radio, also sent to EBU. The outcome of the competition will be published in the network of International Music Council too.
Web Site:musicanova.seah.cz

 MONTEVERDI AND THE CONTEMPORARY MUSIC
Summary:Solo voice/chamber call
Deadline: 30 August 2017
Date Posted: 28 June 2017
Details: Deadline: 30th August 2017

The SIMC promotes this project on the 450th anniversary of the birth of the Italian musician.
It is aimed at composers without age restrictions.
Selected scores will be performed in concert, in the SIMC autumn activities.

Guidelines
All composers are eligible without age and nationality limits.
Each composer could send only one work of a maximum duration of 7 minutes.
The works should be in adherence to the theme proposed, which has its centre in the work of the great Italian Renaissance composer, according to the creativity of contemporary composers.
Composers must submit a work for:
• solo voice
• solo viola
• chamber works, from two to six players, featuring the following instruments: voice, flute, violin, viola, cello, only one plucked instrument (guitar, spinet, harp)

All candidates could send the full score in PDF format to:
segreteria.simc@gmail.com with the following personal data: name and surname, date of birth, residence, email address, phone number.
Candidates must submit a copy of the registration fee receipt, as contribution for the organization.

SUBMISSION FEE : Payment is fixed at € 30 to be sent by bank transfer, using the following
Iban code: IT93C0558401657000000002712
All candidates, which are regularly enrolled in the SIMC for the year 2017, are exempted from paying the registration.

The SIMC will notify the selected works by 10th September, and candidates will be invited to send the parts of the selected compositions and a short biography (up to 200 words).

Performances of the works are planned to take place in the activities within the 2017 with the possibility of further opportunities later.

For information: segreteria.simc@gmail.com
Facebook/SIMC

Published date:
11 May 2017


Entry Fee:30 euros
Email:segreteria.simc@gmail.com

 Fresh Squeezed Opera
Summary:Opera showcase
Deadline: 15 August 2017
Date Posted: 28 June 2017
Details: 2017 Showcase
NOVEMBER 2, 2017, 7:00PM
THE CELL THEATER (338 W 23rd St, New York, NY 10011)

Featuring
Body Maps (2007), by Paola Prestini

We are hosting a call for scores for this program. To submit a score for consideration, please follow the guidelines below:

• Must be over 10 minutes in length, maximum of 25 minutes.
• Instrumentation requirements: must include some combination of singer (soprano, mezzo, or baritone), piano, violin, cello, flute, oboe, clarinet, bassoon. Can include electronics.

To Apply, Please send:
• Piano vocal score, full score, and parts
• Recording (partial, or midis acceptable)
• Permission from the librettist/author
• Brief description of the piece
• Brief bio of the composer
• $5 entry fee (per composer, not per piece)

Submissions can be sent to:
DEADLINE: August 15, 2017


Web Site:www.freshsqueezedopera.com/showcase-of-new-songs-and-operas

 MASTERCLASS IN COMPOSITION - ITALY
Summary:Composition Courses
Deadline: 28 July 2017
Date Posted: 28 June 2017
Details: Summer course in composition by Massimiliano Messieri

The course will be held in the Malatesta Theater in Montefiore Conca (Rimini), from 3 to 12 August.
The best students will have a score performed during the next IX. MASKFEST 2018 - International Festival of New Music by Rimini Chamber Orchestra.

Below is the link with enrollment:
https://maskfest.org/masterclass-2017/modalita-discrizione/

The lessons will be in Italian and English, single lessons and group lessons.

Deadline: 28 Jul 2017
Entry Fee: 350.00
Currency: Euro (EUR)
Web site: https://maskfest.org/masterclass-2017/
Web Site:maskfest.org/masterclass-2017/

 MotoContrario ensemble
Summary:Call for Scores 2018
Deadline: 31 August 2017
Date Posted: 28 June 2017
Details: MotoContrario Ensemble is very excited to announce its fourth call for scores.

For the third edition of the call we received over 200 works from all over the world; eleven pieces for ensemble, sax quartet and solo instrument have been chosen and performed in the winner concert during the last edition of the Festival. Other pieces have been performed in different appointments of the Festival.

For this edition we open the call for two different categories:

cat.A – solo instrument or mixed ensemble (from 2 to 9 instruments, no electronics) – see available instruments below

cat.B – sax quartet (soprano, alto, tenor, baritone)

Instrumentation for cat. A:

1 clarinet (single performer, including soprano Bb and A and bass)
1 saxophone (single performer, including sopranino, soprano, alto, tenor, baritone)
1 trumpet (single performer, including flugelhorn, piccolo trumpet, cornet)
percussion (single performer; available instruments: marimba (4.3 octave), vibraphone, glockenspiel, 2 susp.cymb., 5 temple bl., snare drum, bongos, congas)
piano type accordeon (single performer)
1 piano (one or two performers)
1 violin (single performer)
1 viola (single performer)
1 cello (single performer)

Guidelines for submission:

– Applicants may be of any nationality and age.

– Applicants may submit only one work for each category.

– Submitted works must not exceed 15 minutes of duration.

Deadline: 31th august 2017 (CET 11.59pm)

Fee: No fee

The submitted pieces will be selected by the members of MotoContrario Ensemble.

The selected pieces will be performed in a dedicated concert of the 5th edition of Festival Contrasti, that will have place in the spring of 2018 in Trento, Italy; other pieces will be considered for different occasions.

All submissions should be sent via email to callforscores@motocontrario.it with the subject heading “Contrasti 2018 ‐ Call For Scores ‐ Your Name” and should include a link (Dropbox, Google Drive, WeTransfer, etc) to the following files:

PDF score;
MP3 recording (not mandatory – MIDI realizations are acceptable);
curriculum vitae;
contact details;
All parts must be sent a week after the selection.

For more information regarding the call for scores, please send an email to: segreteria@motocontrario.it

Web site: http://www.motocontrario.it – http://www.motocontrario.it/call-for-scores

Facebook: https://www.facebook.com/motocontrarioensemble
Web Site:www.motocontrario.it/call-for-scores/call-for-scores-2018

 THE MINIMAL PIANO SERIES vol. I
Summary:Piano call for scores
Deadline: 30 September 2017
Date Posted: 28 June 2017
Details: ARTICLE 1
The BLUE SPIRAL RECORDS record label launches the first International Composition Contest, which aims to release the Minimal Piano Series Vol. I CD.

ARTICLE 2
The contest will be open to composers (M/F) of any nationality without age limits.

ARTICLE 3
The contest is reserved to original and unreleased compositions for piano solo, piano and electronics, piano and string or any other combination that includes the piano as the main instrument of the song. The nature of the compositions must be inspired by the minimal genre.

ARTICLE 4
The music material must be sent in the following format together with the registration documents:

a digital PDF copy of the sheet music;
audio files in MP3 format;
curriculum vitae;
short description of the submitted work;
a completed and signed registration form;
completed and signed release (included at the end of these guidelines);
copy of an identity document;
receipt of the registration fee.

All files must be sent as attachments to the following address:

bluespiralrecords@gmail.com

The quality of the audio file will be an important evaluation parameter for the final choice of the winning compositions.
If the files should be large please use wetransfer.com as a sending system.
Unselected files for CD production will not be used and will remain in the archives of Blue Spiral Records for documentary purposes.

ARTICLE 5
The entry fee of € 10.00 (ten) is not refundable, must be paid for each sent composition by PayPal to the bluespiralrecords@gmail.com email or by bank transfer on the c / c headed to:

BLUE SPIRAL RECORDS SRLS
IBAN IT93E0200803459000104399498
BIC UNCRITM1F34


ARTICLE 6
The CD will be released under the title of The Minimal Piano Series vol.1. A number of 8 to 12 compositions will be chosen for the compilation.
The disc will be physically made (graphics, color cd printing, color 2-color digipack, 12-page booklet, polished glossy, cellophane) will be available for sale at www.bluespiralrecords.com and distributed digitally on all audio platforms (iTunes, Spotify, Deezer, Amazon etc. ). Blue Spiral Records also reserves the right to distribute the CD in major disc stores.
Each selected artist will have to provide the Blue Spiral Records with a high quality audio composition of the selected composition,; the record company will take care of the cd master and post-production.
Blue Spiral Records will also take care of the album launch, even through online channels and magazines, and will broadcast the tracks through its official YouTube channel.
Each selected artist will receive 8 copies of the Cd for free, any other copy will be available at a favorable price.
The sheet music of the selected composition will also be edited by Blue Spiral Records and available for purchase on the website.
The selected author will disclose to Blue Spiral Records 50% of the rights on the release of the composition.

ARTICLE 7
The work and documentation must be received by and no later than September, 30th 2017.
The decisions of the Jury will be announced by October, 30th 2017.

ARTICLE 8
The decisions of the Jury, whose authority is recognized by the candidates for the very fact of competing, are unappeallable.

ARTICLE 9
The application for taking part to the competition and the submission of the works to the competition involves the author accepting the above-mentioned rules.
Failure to comply with the rules as referred to, shall entail the termination of any right arising out of the participation in the competition.

ARTICLE 10
The court of Napoli (Italy) shall have exclusive jurisdiction over any disputes related to the terms and conditions mentioned above.
For more information, visit www.bluespiralrecords.com or write to bluespiralrecords@gmail.com
Web Site:www.bluespiralrecords.com

 8SW Composer Competition
Summary:Chamber trio competition
Deadline: 12 January 2018
Date Posted: 21 June 2017
Details: We are very pleased to be holding the first 8SW Composer Competition.

Below you will find a detailed description of the guidelines, eligibility and submission requirements. Please note that applications will not be accepted before September 15, 2017.

Please direct all questions to Ms. Katherine Liu, Program Manager at 8SWcompetition@gmail.com. Please do not direct any questions regarding the competition through our contact link on this website.

8SW Composer Competition General Information

All applications and supporting materials will be accepted beginning September 15, 2017. All submissions, including the application fee, must be received by 11:59PM on January 12, 2018.

Eligibility and Description: The Competition is open to composers of all ages, but applicants must be enrolled in an accredited degree program at the time of application. Eligible programs include BM, BA, MM, MA, DMA, PHD or Artist Diploma.

FIRST PRIZE: Eight Strings & a Whistle will perform the New York Premiere of the winning composer's work in the Fall of 2018. The winning entrant will also receive a working rehearsal with Eight Strings & a Whistle, a feature on the Eight Strings & a Whistle website and a stipend of $300 to help defer travel expenses.

Scores and mp3’s should be emailed to 8SWcompetition@gmail.com as detailed below. Materials will not be accepted before September 15th.

The winner will be announced in May, 2018.

All applications will be adjudicated by a panel of composers and the members of Eight Strings & a Whistle. The decision of the judges is final.

Guidelines

The work may not have already received a professional premiere.

Proposed length: Total time between 6-15 minutes. The piece can be a multi- or single-movement work.

Entries must be written for flute viola and cello. In the writing for the flute, the composition must include C flute, either alone or in the following combinations: flute/ alto flute; flute/ piccolo; flute/ alto flute/ piccolo.

There can be no incorporation of electronics.

Only one submission per applicant.

One application fee of $11.00.

Competition Rules

Applications and supporting materials will be accepted beginning on September 15, 2017.

All applicants must submit:

I. Scores: The Score with no identifying markings in either the file or file name. This includes pseudonyms, dedications and commissioner names.

Scores must be created in Finale, Sibelius or some other type of of music entry software program. No handwritten scores will be accepted.

All scores must be in .pdf file format. Multiple movement scores should be submitted as a single .pdf file.

II. Recordings. Live or MIDI recordings must accompany each application. All recordings should be submitted as mp3 files. Recordings of multiple movement works should be submitted as a single mp3 file.

Recordings may not contain any identifying markings. This includes names of performers and composers in the file name as well as the metadata. If the recording is of a live performance, names of performers or composer cannot be heard/spoken on the recording.

III. Application Form: All applicants will complete the online application form. (link will be posted here on 9/15/17)

IV. Applications will not be considered complete until the $11 application fee has been submitted. Please submit payment here.

All questions should be directed to Ms. Katherine Liu, Project Manager at 8SWcompetition@gmail.com.
Web Site:eightstringsandawhistle.com/8sw-composer-competition.html

 Short Sounds Film Festival
Summary:Film festival seeks submissions
Deadline: 31 August 2017
Date Posted: 21 June 2017
Details: The Short Sounds Film Festival is the world’s first dedicated celebration of cinematic sound and music.

The world is full of NOISE, loud, raw and unrelenting on our ear drums. Escaping it is nigh on impossible and in time it fades motionless to the background of our lives, HOWEVER…

… in the temple of cinema, the crude ore of NOISE is crafted by unsung masters into sculpted waves designed to wash sensually upon our ears with majesty and wonderment. Rich in resonance, subtle in sentiment and lasting in legacy, this mesmerising process has seen NOISE become SOUND.

The Short Sounds Film Festival is the world’s first dedicated celebration of cinematic sound and music. An event to champion the audio wizards that fill our heads with SOUNDS that make our heart race and SCORES that storm our souls. This October, join us in central Bournemouth for a programme of films richly authentic in their use of sound and music and a whole host of uniquely engaging experiential installations designed to challenge your very relationship with cinematic audio.

Come free your ears from the monotony of NOISE and tantalise them with the glory of cinematic SOUND

Submissions open between 1st Feb and 31st Aug
Web Site:shortsounds.co.uk

 2018 Composition Competition–Clarinet Quartet
Summary:Quartet competition
Deadline: 20 December 2017
Date Posted: 21 June 2017
Details: The ICA seeks previously unperformed works for clarinet quartet (3 B-flat clarinets and B-flat bass clarinet), 10-15 min. in length. The deadline is December 20, 2017; the winner will receive a $1000 prize and a performance of the work at ClarinetFest 2018.

For details, please contact Antonio Faioli, coordinator.

2018 Composition Competition–Clarinet Quartet

Antonio Fraioli, Coordinator Email: antonio.fraioli@libero.it

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

Application:

1. Items must be received by December 20, 2017.

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 quartet recording in .mp3 format may 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. The application fee is non-refundable.
The 2018 Composition Competition call is for a work 10-15 minutes in length, scored for 3 B-flat clarinets and B-flat bass clarinet. The submitted work must have no prior performances.
Judging

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 January 31, 2018. The winning composition will receive a world premiere performance during ClarinetFest® 2018, July 6-11, 2018, in Ostend, Belgium. Travel expenses will be the responsibility of the winner. Free registration at ClarinetFest® 2018 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 clarinetists 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.
Web Site:clarinet.org/competitions/2017-composition-competition/

 Call for Works for Solo Recorder
Summary:Solo recorder works
Deadline: None
Date Posted: 21 June 2017
Details: Kethryn Bennetts is looking for pieces for solo recorder for an ongoing concert series starting Oct 2017. Can involve microtonality, especially quarter-tones and fixed media, preferably for one performer but other instrumental combinations can be considered.

E: kathrynbennetts@mac.com
WEB: www.bennettsbowman.org.uk
Web Site:www.bennettsbowman.org.uk/

 The Frederic Mompou International Award for 2017
Summary:Trio competition for young composers
Deadline: 19 August 2017
Date Posted: 21 June 2017
Details: In memory of F. Mompou and his wife C. Bravo, who were its Honorary Presidents. 2017 marks the 30th anniversary of Frederic Mompou’s death.

http://concursfredericmompou.cat/eng/

Rules

Any composer who is not over 35 years of age on December 31, 2017 can participate in this competition.
The works must be completely unknown. They must not have been previously performed, published or disseminated in any way or in any computer sound file.
The musical formation this year is for:
Trio for clarinet, cello and piano

The style and scoring methods of the work are completely unrestricted. The recommended duration is between 10 and 18 minutes.

Award

The Frederic Mompou International Award for 2017 consists of:
The amount of €4.000. This amount will be subject to Spanish taxation.
Publishing and marketing of the winning score by Editorial Boileau publishing house.
The premiere of the work in a concert within the “Xarxa de Músiques a Catalunya” (Music Network in Catalonia) in order to create new audiences for contemporary music.
The Frederic Mompou International Award cannot be shared or declared void.
The jury reserves the right to award two honorary mentions.
The 2017 winner cannot compete again until the competition of 2020.

Presentation of the scores

The presentation of the scores must be anonymous: a pseudonym must be used.
No motto or pseudonym can be used that identifies the composer or the work presented.
The score can be written by hand or printed by means of a musical notation programme.
Incomplete scores will not be accepted. All the scores presented must be legible at first sight. A score that is badly written can be refused.
The work has to be sent as a score in DINA4 (21×29,7 cm) or similar size paper and well bound.
Please, send:
Six copies of the score, on which a title for the work and a pseudonym figure.
A sealed envelope with the same pseudonym, which includes:
1. The entry form, correctly filled in.
Entry form
2. A photocopy of an identity card, passport or proof of identity.
3. A brief curriculum vitae.
The six scores and the sealed envelope must be sent to:

Joventuts Musicals de Barcelona Premi Internacional Frederic Mompou
PO Box 5498, 08080 Barcelona-Spain

Presentation deadline: Saturday, August 19th, 2017 (incl.)

The scores that have been sent by registered post before or even on the above date will be accepted.
A copy of the scores that have not been awarded the prize will be kept in the files of the entity. During 2018, the remaining copies will be returned to their composers, if they request them.

Jury and verdict

The jury will be made up of five professionals of international prestige in the world of contemporary music, and they will be made known when the verdict is made public.
The decision of the jury will be taken by absolute majority and the verdict will not be open to appeal.
Once the verdict is determined and it is found that the winning work has not complied with all the rules, the composer will be stripped of the award.
The verdict will be announced before the end of September 2017.

Award-winning work

Once the verdict has been announced, the award will be granted. According to JMB’s concert programme, the award-winning work will be premiered in the “Xarxa de Músiques a Catalunya” (Music Network in Catalonia) concert tour, organized by Joventuts Musicals de Catalunya.
The work will be recorded by and broadcasted on the Catalan radio station Catalunya Música.
The intellectual property rights remain in the composer’s possession. In posterior recordings and programmes, the following text must be stated: “Frederic Mompou International Award for the Young Composer Competition of Joventuts Musicals de Barcelona, 2017”.
Once the award is granted, the winner is required to present a copy of the score in the programme Finale or Sibelius.
Editorial Boileau has the publishing and marketing rights to the score.
The winner must accept this point regardless of other publishing commitments.
Web Site:concursfredericmompou.cat/eng/

 RESONANCES | International Composers’ Competition 2017 – 1st Edition
Summary:Chamber composition competition
Deadline: 27 August 2017
Date Posted: 21 June 2017
Details: City: Pushkinska 32 str. – KIEV (Ukraine)
Sponsored by: Union Composers of Ukraine
Date: from 25 to 28 September 2017

The RESONANCES Composers’ Competition was born from the idea to create a project that will work on the meeting of the contemporary music of our time.

All composers who wish to participate into the International Composers’ Competition must write an original work.

The RESONANCES Composers’ Competition 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 from 25 to 28 September 2017 in the city of Kiev (Ukraine), inside the Union Composers.

The composers’ selected works will be performed in a final concert on 28 September inside the Concert Hall of Union Composers of Ukraine.
The concert will be recorded by a sound engineer and a movie director will make a video.

PARTICIPANT INFO

Each composer must submit a music score choosen in the following instruments from 3 to 10 players:
soprano, mezzosoprano, piano, flute (ottavino, flute in G), clarinet ( bass clarinet), trumpet, horn, trombone, 2 percussionists (timpani, bass drum, cymbals, vibraphone, xylophone, tubular bells, woodblocks).
Deadline: 27 August 2017.
The work must not exceed 10 minutes.

All score will be sent by email (only one work for composer), in PDF format, at info@klknewmusic.com.

Each email sent to submit a score shall include:
– The score and orchestral parts must be in A4 format, (please indicate minutes of the score) 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 the best composers, from all the application submitted, no later than 29 August 2017.

ENTRY FEE

The tuition fee for all participants selected is:
€490 (euro 490 + 5% Paypal tax) to be paid no later than 01 September 2017 by Paypal on email info@klknewmusic.com.

The tuition fee includes:
– Check sound of the works of select composers from 25 to 28 September;
– Conference of the composer visitor Jerzy Kornowicz;
– Final concert in Philharmonia with the works selected with the Kiev Contemporary Ensemble;
– Professional AUDIO / VIDEO recording of the selected works during the final concert.

The tuition fee does not include:
-Food
-Accommodation
-Flight.

Administrative secretary for the International Composers’ Competition RESONANCES 2017 is Ms. Anastasiya Kodola.
For any question about the tuition fee and payment method write to anastasiakodola@mail.ru.
Please send a PDF file with your payment check to info@klknewmusic.com.

COMPOSITION STAFF

Igor Shcherbakov (UKR) – President of Union Composers Ukraine
Jerzy Kornowicz (POL) – Composer
Domenico Clapasson (ITA) – Composer, Artistic Director Aldebaran Editions
Ferdinando Nazzaro (ITA) – Composer, Artistic Director KLKnewmusic

Three prizes will be awarded.
1 Prize – 600 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.

Web Site:klknewmusic.com/competitions/resonances/r2017/

 LSO Jerwood Composer+
Summary:Composer programme
Deadline: 28 July 2017
Date Posted: 21 June 2017
Details: LSO Jerwood Composer+ is a new programme that will support early career composers in programming, planning and delivering chamber-scale concerts in the Jerwood Hall at LSO St Luke’s, including work of their own developed through the programme.

Two composers will be accepted onto the LSO Jerwood Composer+ programme each year for a 16-month placement with the LSO. The composers will each be given the opportunity to programme, plan and deliver two concerts at the Jerwood Hall at LSO St Luke’s, enabling them to showcase new music by both themselves and other composers whilst gaining entrepreneurial skills through mentoring from key LSO staff. The concerts will make a substantial contribution to the diversity of the music programme for audiences at LSO St Luke’s.

More information and to apply:
Web Site:lso.co.uk/lso-discovery/the-next-generation/jerwood-composer-plus.html

 2017 Composition Competition!!!
Summary:Trombone competition
Deadline: 01 September 2017
Date Posted: 21 June 2017
Details: Rules
• Original Compositions Only (no arrangements, no old compositions - must be composed for this competition)
• For 2 - 8 Trombones
• 2:30 - 7:30 Duration
• Deadline: September 1, 2017 at 12:00am EST

To Enter
• Fill Out Entry Form
• Send The Following To submissions@classicaltrombone.com:
• Composition Title
• PDF of Score & Parts
• Recording or MIDI audio as .mp3 file
• Composer Photo

Prizes
• 1st Place - $200, October 7, 2017 YouTube Performance, Website Feature
• 2nd/3rd Place - YouTube Performance (potential), Website Feature
• Runners Up - Website Feature

Judging

Submissions will be ranked by a panel of judges on general quality and potential. The finalists will be announced the third week of September, and the final results will be released October 7th. Judges' sheets will be made available to the finalists, but due to the vast number of submissions, no other feedback should be expected.


Web Site:www.youtube.com/watch?v=vdllL_Q1dRI&feature=youtu.be&a

 Rosetta Contemporary Ensemble Call For Scores 2017 “Asian Corridor”
Summary:Competition with 3 Categories
Deadline: 25 November 2017
Date Posted: 21 June 2017
Details: Rosetta Contemporary Ensemble Call For Scores 2017
“Asian Corridor”

Rosetta Contemporary Ensemble is internationally calling for new pieces for the concert, which will be held at Kyoto Art Center, Japan on 12th February 2018. *Application Form is at bottom of the page.

Instruments List

Group A:
2 Mandolins (1 mandolin can be switched to mandola tenore*)
2 Guitars

Group B:
1 Saxophone (Soprano/Alto/Tenor) *one player. Ask for other family

Group C:
1 Left-Hand Piano

Cautions;
*Tremolo / Picking technique must be clearly notated for Mandolin.
*Mandola Tenore is GDAE tuning, an octave lower than mandolin.
*Internal technique for piano may be used, but should be suitable for left hand playing.
*Prepared materials maybe available if it is easy to prepare AND also easy to remove.

Category A (Quartet to Sextet)
• Instrumentation: include all instruments from the list. (Guitar and Mandolin/Mandola can be only one player or two. )
(1 or 2 Mandolin(s) & 1 or 2 Guitar(s) & 1 Saxophone & 1 Left-Hand Piano)
• Duration: Max approx. 8mins (one or multi-movement)

Category B (Duo to Quintet)
• Instrumentation: Any combination of instruments from at least 2 different groups from the instrument list.
• YES: 1 Saxophone & any other instrument(s)
YES: 1 L-F piano & any other instrument(s)
NO: Guitar & Mandolin, Guitar Duo, Mandolin Duo (Those are accepted in Category C)
NO: Saxophone ensemble. *We have only one saxophonist.
• Duration: Max approx. 8mins (one or multi-movement)

Category C* (Performer’s Selection)
*selected pieces from this category may not be performed in the concert in Kyoto but in other concerts held in 2018 by the member of Rosetta.
• Instrumentation:
Solo piece of any instruments from the list.
Duo of any combination from instrument group A (Gt. Mn.)
• Duration: Max approx. 6 mins.
• Only for this category, previously performed piece can be submitted if the piece are unpublished and has never been given performance in Japan.

Rules
• This year’s theme is “Asian Corridor”.
This theme does not require participants to write music related to Asia in any way at all.
It is set to encourage composers to imagine the meaning of presenting their work in not another place, but in Kyoto, in Asia.
(The theme does not apply for Category C)
• Deadline 25th November 2017.
• No entry fee / No age limit
• The Submitted work must not be previously performed or published. (except Category C.)
• You may submit multiple works, however, only one work for one category will be accepted.
• The selection will be made by 10th December 2017. The result will be announced on the website. The result also will be communicated to participants by email individually.
• Approximately 6 pieces (from category A and B) will be chosen to be performed at the concert, by the selection committee including performers of rosetta contemporary ensemble and composers who write commissioned work for the concert.

Selection Committee
Kaito Nakahori (composer)
Moe Ikeda (composer / selected composer of “Call for scores 2016”)
Mami Katsuya (Program Director of Kyoto Art Center)

Rosetta (here is the member list)

The event is hosted by
Rosetta Contemporary Ensemble and Kyoto Art Center

Information for Selected Works & Composers

For Category A & B

• All rights of the selected work will remain to composers, except for the performing right ONLY for the concert on 12th February 2018, when the piece will be given the premier.
• There will be no cash prize.
• Rehearsal for composers reside outside of Japan will be done through recording correspondence or on web streaming.
• Composers are encouraged to visit the concert, however, composers must pay travel expenses themselves. Recording will be supplied to the composers.
• Selected pieces will be internationally released on music download and streaming services (e.g. iTunes, spotify etc.) from LPC Japan
(by agreement with selected composers and LPC Japan.)
• One composer from the selection will be offered to be guest composer for 2019 edition of Rosetta Contemporary Ensemble Call for Scores. (¥50,000 commission fee for writing a new piece for Rosetta, and to be a member of selection committee of Call for Scores. )(additional information will be announced)

For Category C

• Selected piece will be given premier by member of rosetta, in 2018. The detail will be determined through discussion between the selected composer and the performer.
• There will be no cash prize.
• All rights of the selected work will remain to composers,
• Composers are encouraged to visit the concert, however, composers must pay travel expenses themselves.
• Recording will be supplied to the composers.


Web Site:rosetta-music.com/call-for-scores

 VOCES8
Summary:Choral competition
Deadline: 15 September 2017
Date Posted: 21 June 2017
Details: With VOCES8 and Apollo5 we place great emphasis on supporting the creation of new choral music and bringing new compositions to the world stage.

With that in mind, we are delighted to announce this inaugural VCM Foundation composition competition.

We are excited to receive your compositions, and to prepare the winning entry for a world premiere performance at the Gresham Centre in London in November.

Composers are invited to submit an original composition for SATB divisi a cappella. The composition must not be one that has been performed before.

Duration
Four minutes maximum.

Text
Of the composer’s choosing, sacred or secular. The text should be in the Public Domain, of the composer’s own creation, or else be accompanied by documentation clearly con rming that the composer has secured permission to set it to music and to present it in public performance. Any costs related to securing said permission are solely the responsibility of the composer.

Number of entries
No limit per composer. However, each composition must be submitted as a separate entry.

Anonymity
All submissions must be anonymous. Scores 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).

Evaluation
Compositions will be evaluated by a panel comprised of:
Jonathan Dove Composer
Barnaby Smith Artistic Director VOCES8
Paul Smith CEO VCM Foundation
Robin Tyson Head of Artist Management Edition Peters Group

Submission Process
1. An anonymous PDF file of the score together with a MIDI or Sibelius le.
2. £25 entry fee for each submission.
3. Completed information sheet:
• Composer’s contact information (name, phone number, mailing address, email address, and website URL, if any)
• Title and duration of the work
• Scores and Entry Form should be sent to Ann Wright, VCM Foundation ann@vcm.foundation

The shortlisted compositions will be sung at a workshop led by Barnaby Smith on Saturday 11 November at the Gresham Centre. Composers may attend. However, there will not be time for them to discuss their works with Barnaby or the singers.
The winning composition will be performed in a concert by VOCES8 and Apollo5 on Tuesday 14 November at the Gresham Centre. The winning composer is encouraged to attend (travel expenses will not be provided).

Deadline
Friday 15 September 2017

Web Site:www.voces8.com/education

 Young Composers Challenge!
Summary:Pre-notification of competition
Deadline: None
Date Posted: 21 June 2017
Details: Welcome to the 2017 edition of the Young Composers Challenge! The start of this year’s contest is edging nearer and nearer, and we’re super excited to see what this year’s participants will create.

Registrations will open 2nd of August, with the complete details being released on August 20th. In the meanwhile, head over to our ‘About’ page for more information on the competition.

We’ve got some spectacular judges this year, and over $10,000 in prizes. So keep an eye out for the registration form on August 2nd!
Web Site:youngcomposerscompetition.com

 Tampa Bay Symphony
Summary:Orchestra composition competition
Deadline: 01 October 2017
Date Posted: 21 June 2017
Details: The Tampa Bay Symphony is announcing a call for scores competition for living composers. One score will be selected for performance on our Spring 2018 concert series* (performances April 29, 2018, 2:30pm in Clearwater, FL; May 1, 8:00pm in St. Petersburg, FL; May 6, 2:30pm in Tampa, FL). Finalists will be notified by November 1, 2017 and the symphony will read/rehearse the compositions by the finalists at rehearsal on Tuesday evening, January 16, 2018, 7:00pm. 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 16, 2018.

TIMELINE
Deadline for submission of materials: October 1, 2017 Finalists notified by November 1, 2017
Finalists must submit parts by December 1, 2017
January 16, 2018: reading/rehearsal of finalist compositions
February 1, 2018: announcement of selected composition for the Spring 2018 concerts*
April 29, May 1 and May 6, 2018 (Winning composer must attend at least one of the performances in order 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.

ELIGIBILITY
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 not exceed 12 minutes in length.
Works that have been chosen as winners or finalists in previous years may not be resubmitted. Previous winners and finalists are encouraged to submit new works.

PAST WINNERS
2017 – Season 30 – winner: Allen Molineux, Trifles
Link to TBS performance of 2017 winning composition: https://www.youtube.com/watch?v=X-0laYJOUbU&feature=youtu.be

Instrumentation
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, 10 violas, 10 cellos and 6 basses)
The submitted composition should include at least one full string section)
Works with Harp parts will not be considered

APPLICATION PROCEDURE:
Submission of all materials is electronic. Please send an email to Susan Rhein at susan@tampabaysymphony.org 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,
2017. 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 susan@tampabaysymphony.org using a subject line of TBS Composition Contest.
Web Site:www.tampabaysymphony.com/call-for-scores.html

 NODUS Ensemble
Summary:Visual art themed composition competition
Deadline: 01 August 2017
Date Posted: 21 June 2017
Details: ***Call for Works: 2017 NODUS Ensemble Fall Concert Series***

The Miami Section of the International Society for Contemporary Music (ISCM) at Florida International University (FIU) is pleased to announce a call for scores for possible performance as part of the NODUS Ensemble’s 3 concert Fall Series being held September 6, October 25, and November 29 in the main gallery of the FIU Miami Beach Urban Studios. Attendance at the concerts by composers whose works are selected is not required. The call is open to all composers without restrictions.

Only works that have a thematic related to visual art and/or architecture and design and that employ the following instrumentations will be considered:

~ NODUS Ensemble works for 1 to 4 performers in any combination 1 on a part for Violin, Viola, Cello, and Piano with or without electronics and video

~ Fixed Media Works and/or Live-Electronics with or without Video

~ Installations

Due to programming considerations works over 15 minutes will not be considered. Up to two works may be submitted for consideration.

Selected pieces will be announced through the New Music Miami web site and the NODUS Ensemble Facebook page.

Application Procedure

***Submission Deadline is August 1 (12:00 a.m. EST)***

Application Fee: $22.00 for the submission of one work, and a total of $32.50 for the submission of two works.

The application procedure consists of the following steps:

1. Submitting online payment through ticket solutions.
Select 2017 NODUS Ensemble Fall Concert Series Submission. After completing payment, you will be provided an “order number”. This is necessary for the next step. (Please note: because the submissions payment is being handled through an online ticketing system, it may be necessary to “load more events” on the web page.)

2. Filling out the online informational form.
All materials (PDFs of scores and audio files as well as a brief description of the works relation to visual art and/or architecture and design) must be submitted electronically and made available for download by supplying links to download files and/or stream audio files. Please make sure all links stay active through August 31. Please enter the “order number” obtained through the above process at the bottom of the form. This will provide proof of payment.
Web Site:www.newmusicmiami.org/?page_id=477

 2017 - 2018 Brazosport Symphony Orchestra Composition Contest for Student & Amateur Composers
Summary:Orchestral competition
Deadline: 30 August 2017
Date Posted: 21 June 2017
Details: The Brazosport Symphony Orchestra (BSO), located in Lake Jackson, Texas, is sponsoring a competition for student and amateur composers.

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

RULES
• Entries shall be original compositions between six and ten minutes duration.
• Each entry shall be accompanied by a nonrefundable payment of $10.00, payable to the Brazosport Symphony Orchestra. Payment via Paypal is acceptable.
• Entries must be postmarked, or sent via email, no later than August 30, 2017.
• Each application must include a completed entry form. The entry form is available upon request at :
philip_walker2682@sbcglobal.net
• The composition shall be orchestrated for performance by a full symphony orchestra.
• The composition shall not have been previously published. Additionally, the composition shall not have been performed at a concert where admission is charged. Previous performance at student recitals, faculty recitals, or other free events will not disqualify the composition.
• The winning composer shall provide a hardcopy of the score of the winning composition and the constituent parts to the BSO following notification of the judges’ decision, but before the actual award is made to the composer. Individual parts should also be sent to the BSO in pdf format.
• The winning composer shall grant a non-exclusive, non-transferable, non-expiring royalty-free copyright license to the BSO for use of the winning composition. The BSO reserves the right to use the winning composition to promote the BSO including live and recorded performances.
• For the purposes of this competition:
- A student composer is defined as one currently enrolled in an educational institution.
- An amateur composer is defined as one who is not employed solely as a composer. Music teachers, band or orchestra directors, performers, copyists, etc. are considered amateur composers.
- A symphony orchestra is defined as having the normal complement of strings, with full woodwinds (flute, clarinet, oboe, bassoon), full brass (French horn, trumpet, trombone, tuba), percussion, and others as needed.

JUDGING
Criteria for judging are musicianship and suitability for performance.

ENTRY FORMAT
• Submit the score in pdf format.
• Submit the recording in mp3 format.
• The composer’s name must not appear on the score. To ensure impartiality, use only a pseudonym.

Send all materials to:
Brazosport Symphony Orchestra
Composition Competition
65 Bayberry Court
Lake Jackson, TX 77566

If there are any questions, please contact Philip Walker at:
philip_walker2682@sbcglobal.net

Web Site:philip_walker2682@sbcglobal.net

 Inter-American Music Awards
Summary:Solo piano competition
Deadline: 01 September 2017
Date Posted: 14 June 2017
Details: SIGMA ALPHA IOTA PHILANTHROPIES, INC. announces the twenty-second Sigma Alpha Iota Inter-American Music Awards (IAMA) competition. Since 1948 the IAMA has been one of Sigma Alpha Iota’s ways of promoting contemporary composers of the Americas and their music.

Compositions are judged by a panel of well-known composers who also compose works as a part of the IAMA composer-judge agreement. The winning composition and the compositions by the composer-judges are premiered at the Sigma Alpha Iota National Convention following the competition. The works are then published by C. F. Peters Corporation for Sigma Alpha Iota. The Inter- American Music Awards Series serves a threefold purpose by presenting compositions of high musical merit to the fraternity and the public, by bringing distinction to the winning composers by linking their names to those of composers with well-established reputations, and by offering composers the bene ts that accrue from publication of their prize-winning works by a leading music publisher. Sigma Alpha Iota collegiate and alumnae members promote the IAMA series by performing the compositions and studying the other works of the composers.

THE AWARD
The winning composition will be premiered at the Sigma Alpha Iota National Convention in Scottsdale, AZ, July 26-30, 2018.

The composer of the winning composition will receive a $2,500 cash award at the convention. Transportation to the convention andlodging for three nights will be provided for the winning composer.

The C. F. Peters Corporation will publish and copyright the winning composition and register it with the Library of Congress. Royalties will be shared equally between the composer and Sigma Alpha Iota.

RULES OF THE COMPETITION
ELIGIBILITY: The competition is open to any composer residing in North, Central, or South America, regardless of nationality, race, creed, or gender. Prior winners and composers who are, or have ever been, students of the composer-judges are ineligible. The applicant’s previous compositions shall not have been published by nationally/internationally known
music publishers.

COMPOSITION: The composition shall be for Solo Piano. It should be 3-10 minutes in length. The composition shall not have been published, recorded (other than for the purpose of submitting a recording to accompany the application) or performed publicly prior to entry in the IAMA competition. Once submitted, the work shall not be announced, performed, or recorded until the IAMA winner is presented at the National Convention.

ENTRIES: More than one work may be submitted, with each submission sent in a separate mailing. Send two copies of each composition along with the application, to Sigma Alpha Iota Philanthropies, Inc., One Tunnel Rd. Asheville, North Carolina 28805.

DEADLINE: The manuscripts shall be postmarked no later than Sept. 1, 2017

PSEUDONYM: The name of the composer shall appear on the entry blank but not on the composition. To ensure anonymity during judging, the composer shall sign both the entry blank and the composition with the same pseudonym in her/his own handwriting. The composer-judges must not know the candidate’s name until the winner of the competition is selected.

MANUSCRIPT PREPARATION: The score should be computer engraved, and camera-ready.

DECISION OF THE JUDGES: The decision of the judges is nal. The judges reserve the right to declare no winner, in which case the cash prize will revert to the Sigma Alpha Iota Inter-American Music Awards fund.

ANNOUNCEMENT OF THE WINNER: The winner of the IAMA competition will be of cially announced at the Sigma Alpha Iota National Convention in July 2018.

PREMIERE PERFORMANCE: Sigma Alpha Iota will premiere the winning composition at the 2018 Sigma Alpha Iota National Convention. Prior to the formal premiere at convention, the winning composer will attend a rehearsal of the work.

BREACH OF THE RULES: Should a breach in any of the rules governing the competition be revealed after the winner is selected, Sigma Alpha Iota reserves the right to cancel the award and grant the prize to the judges’ second choice.

RETURN OF MANUSCRIPTS: Manuscripts will not be returned unless a self-addressed envelope with suf cient postage or international reply coupons is provided. The fraternity and the composer-judges will use every care to protect the submitted manuscripts while they are in their possession. However, neither Sigma Alpha Iota nor the judges accept responsibility for any claims arising out of loss, damage, or destruction of the submitted manuscripts. Applicants should retain a copy of the score.

Web Site:www.sai-national.org/home/Philanthropies/OutreachProjects/IAMA/tabid/641/Default.aspx

 The TAMU Composition Competition and Symposium
Summary:Compositions for woodwind quintet
Deadline: 17 November 2017
Date Posted: 14 June 2017
Details: Special guests Eric Ewazen and the Oregon Wind Quintet

The Texas A&M University Composition Competition and Symposium announces a call for scores to composers born after December 31, 1992 who reside in the United States. Composers are invited to submit new works for woodwind quintet (flute, oboe, clarinet, horn, and bassoon) of approximately 7–12 minutes in duration. The winning composer will receive a $500 honorarium, a performance by the Oregon Wind Quintet and travel expenses to attend the performance and symposium in College Station, Texas. The winning composer will be required to attend the symposium and give a brief talk on his or her music.

Rules for Submission
• There is no entry fee.
• Each composer may submit one score.
• The submitted work(s) may have been previously performed but may not have won any previous competition.
• Anonymous submission is not necessary.
• An electronic version of the score is required and a recording is strongly encouraged. MIDI realizations are acceptable. Both must be submitted through Music Avatar.
• Score format should be PDF.
• Recording format should be MP3.

Submitting Work
• Works need to be submitted via Music Avatar.
• You will need to register with Music Avatar for free to submit your work online.
• After logging in to Music Avatar, select the opportunity named "The Texas A&M University Composition Competition and Symposium" to submit work.
• Follow the prompts to enter your information, upload your materials, and complete your submission.

Timeline
• November 17, 2017 by 11:59 P.M. CDT (UTC -5:00): Deadline for submissions
• December 8, 2017: Notification of winner
• December 15, 2017: Winner’s score and parts must be delivered in hard copy to the Texas A&M University Department of Performance Studies
• February 27–March 1, 2018: Symposium at Texas A&M University in College Station, TX

Judges
The preliminary judging panel will include Texas A&M University faculty composers. The Oregon Wind Quintet and guest composer Eric Ewazen will select the winning composition.

More Information
Inquiries should be sent to composition@tamu.edu. This event is made possible by the College of Liberal Arts Strategic Development Fund and the Department of Performance Studies at Texas A&M University.


Web Site:www.musicavatar.org/categories/The-TAMU-Composition-Competition-and-Symposium/

 SIGURD RASCHER | International Composers’ Competition 2017 – 1st Edition
Summary:Saxophone composition competition
Deadline: 25 July 2017
Date Posted: 14 June 2017
Details: City: Tchaikovsky str. 7 – Lviv (Ukraine)
Sponsored by: Lviv Philhamonic Society
Date: from 28 to 31 August 2017

The International Composers’ Competition SIGURD RASCHER 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 american saxophonist of 20th century Sigurd Rascher (1907-2001).
All composers who wish to participate into the International Composers’ Competition must write an original work by choosing from 7 to 23 players.

The 1st International Composers’ Competition SIGURD RASCHER 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 SIGURD RASCHER from 28 to 31 August 2017 in the city of Lviv (Ukraine), inside the Lviv Philhamonia.

The composers’ selected works will be performed in a final concert on 31 August inside the Concert Hall of Lviv Philharmonic Society.
The concert will be recorded by a sound engineer and a movie director will make a video.

PARTICIPANT INFO

Each composer must submit a music score choosen in 2 following sections with sax soloist from 7 to 23 players:
1) 1 sax soloist (tenor, or alto, or soprano), 2 violins, 1 viola, 1 cello, 1 contrabbass, 1 or 2 percussionists;
2) 1 sax soloist (tenor, or alto, or soprano), string orchestra ( max 6 violins I, 4 violins II, 4 violas, 4 cellos, 2 basses), 1 or 2 percussionists.
Deadline: 25 July 2017.
The work must not exceed 12 minutes.

Gianni Alberti – Sax

All score will be sent by email (only one work for composer), in PDF format, at info@klknewmusic.com.

Each email sent to submit a score shall include:
–The score, from 7 to 23 players, must be in A4 format, (please indicate minutes of the score) 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 the best composers, from all the application submitted, no later than 28 July 2017.
Each composer selected for the International Music Composers’ Competition 2017 will be notified by email and must send the instrumental parts no later than 03 August 2017.

ENTRY FEE

The tuition fee for all participants selected is:
– €450 (euro 450) for the category 1;
– €590 (euro 590) for the category 2, to be paid no later than 03 August 2017 by Paypal on email info@klknewmusic.com.

The tuition fee includes:
– Check sound of the works of selected composers from 13 to 17 July;
– Final concert in Philharmonia with the works selected with the Lemberg Contemporary Ensemble Lviv and Lemberg Sinfonietta;
– Professional AUDIO / VIDEO recording of the selected works during the final concert.

The tuition fee does not include:
-Food
-Accommodation
-Flight.

Administrative secretary for the International Music Composers’ Competition SIGURD RASHER 2017 is Ms. Anastasiya Kodola.
For any question about the tuition fee and payment method write to anastasiakodola@mail.ru.
Please send a PDF file with your payment check to info@klknewmusic.com.

COMPOSITION STAFF

Paolo Ugoletti (ITA) – President
Bogdana Frolyak (UKR) – Composer
Domenico Clapasson (ITA) – Composer
Ferdinando Nazzaro (ITA) – Composer , Artistic Director KLKnewmusic

Three prizes will be awarded.
1 Prize – 600 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.

Web Site:klknewmusic.com/competitions/sigurd-rascher/sr2017/

 SOUND LAUNCH
Summary:Composition Courses
Deadline: None
Date Posted: 14 June 2017
Details: SOUND LAUNCH provides tailor-made courses and projects in performance, composition, technology and the music business. These are run by professional and qualified tutors.

In the courses musicians are given the opportunity to improvise & jam, compose, arrange, write & co-write; whilst being infused with an awareness of different musical styles, genres and tastes & obtaining a fully accredited qualification.

Its nurturing arena is the perfect setting in which to explore and challenge personal creativity & confidence, as well as refining performance techniques and stage presence, through regular playing and gigs. The recording sessions offer the ultimate experience and an unmissable opportunity in which to fuse all the effort and achievements that have been made during the various courses.

It is an invaluable space to collaborate & meet with other like minded musicians, working hard but having fun!

SoundCheck
Jam, Improvise & Compose with Melody, Harmony & Rhythm Experts. An essential guide for all performers & songwriters.

Rising Artists’ Platform (RAP)
Weekly courses held at Schools, Colleges & Music Centres. In Songwriting, Performance & Music Technology with live Recording Experiences and Gigs.

Development of Recording Artists (DORA) Age 15+
Weekly Courses & Masterclasses in Performance, Songwriting, Recording & Media. With Recording Sessions, Gigs & Festivals and Media Live Lounge sessions. The Perfect Platform to Launch From & Become a Well Informed, Fully Equipped & Supported Artist.

Media Live Lounge Be Filmed, Photographed & Recorded for your Media Channels. Refine Your Stage Presence & Confidence, Air Your Music on Radio & Learn How to Interview, Present Yourself, & Market Your Music.

Recording Studio Experiences Production and Sound Engineering. Mixing, Mastering & Mic Positioning. Build A Studio.

• Banners/Backdrops & Album Art Workshop

• Training, Mentoring & Apprenticeships

• The Music Dr - How to survive & support yourself
• in the Music Industry

• Voice Coaching

• One to One Consultancy available
Web Site:www.soundlaunch.co.uk/music-courses-devon.html

 Juice Vocal Ensemble: Call for Works
Summary:Vocal trio call
Deadline: 01 September 2017
Date Posted: 14 June 2017
Details: Juice Vocal Ensemble are excited to announce a call for works as part of the City, University of London's Meredith Monk 75th birthday tribute concert. The call is open to all composers of any nationality and age. It should be no more than 4 minutes in length and should be lucidly inspired by Monk's work.

Instrumentation can be either a cappella SSA or SSA voices plus handheld percussion/found sounds etc. (to be played by the ensemble). The works can include extra-vocal techniques and graphic notation.

We strongly recommend visiting our Writing For Juice guidelines, and also listening to our albums on Spotify, as well as of course, the work of Meredith Monk!

If you have a query about the music you're writing, email: juicevocalensemble@gmail.com

All submissions should be sent as PDFs; audio files (recommended) should be sent as links to (for example, Dropbox or WeTransfer), or as private links to SoundCloud pages. Please do not email mp3s directly.

Deadline: Midnight (GMT) September 1st 2017

Works selected will be announced in mid-September and performed at City University, London on October 10th.

Send your piece to: leo.chadburn@city.ac.uk
Web Site:www.city.ac.uk/events/2017/october/juice-to-meredith-monk

 2017 Ottawa Guitar Society Young Composers Competition
Summary:Guitar Call for Scores
Deadline: 01 October 2017
Date Posted: 14 June 2017
Details: The Ottawa Guitar Society welcomes submissions of unpublished new works for solo guitar.

Eligibility:
• Participants must be Canadian and currently enrolled as a student and/or under the age of 30.
• Pieces must be for six string guitar with no electronic elements and must be from 5 to 8 minutes in length. Submissions must be composed for this competition.

Submission:
• Scores will be created using Finale or Sibelius and submitted in PDF format to the following email: ocgcompetition@gmail.com
• Scores must contain the title of the piece only with no name. Participant names will only be included in the submission email and will be revealed to the jury after a winner has been selected.
• An audio recording must be included with the score. MIDI is accepted, but not preferred.

Entry Fee:
• $40 by cheque (made out to “Ottawa Guitar Society”), cash, or e-mail transfer to the above submission e-mail.

Deadline:
• October 1st, 2017 (winner announced on October 22nd).

Prize:
• $400 and a premier performance by a select local guitarist at the 13th annual Guitare Alla Grande Festival in February 2018.
• The jury’s decision will be final.

Additional Stipulations (June 2016)
• All applicants must pay the registration fee prior to the competition deadline.
• The jury reserves the right to declare a no-contest.
• The organization committee reserves the right to cancel the competition should a minimum requirement of entries not be met. In this event, applicants will receive a full refund.
• Any unforeseen circumstances will be referred by the jury to the executive committee of the OGS for a final decision.

2016 Competition
The society is pleased to announce that the winning score for our inaugural 2016 composition competition is ‘Astral Projection’ by Ottawa guitarist and composer Nathan Bredeson. The piece was premiered at the Guitar Alla Grande Festival in February 2017 by Daniel Ramjattan.

The society would like to thank all the young composers who submitted their work and the members of the jury for donating their time and expertise. We’re looking forward to the second edition in 2017!


Web Site:www.ottawaguitarsociety.ca/en/events/ogs-composition-competition/

 Fifteen-Minutes-of-Fame: Sam Bessen, horn
Summary:Works for solo performer
Deadline: 15 September 2017
Date Posted: 14 June 2017
Details: Vox Novus is calling for one-minute pieces composed for solo horn. 15 one-minute works will be selected for Fifteen-Minutes-of-Fame: Sam Bessen, horn to be premiered on November 15, 2017 at a venue in Baltimore, Maryland. This call for Fifteen-Minutes-of-Fame is looking for solo horn works inspired by specific texts of literature, poetry, etc.

Submission Guidelines:
• Deadline to submit works is September 15, 2017
• Works should be composed specifically for this project and performer.
• Works should be for solo horn only.
• All pieces must be premieres and not previously performed.
• No works over a minute will be reviewed.
• Multiple submissions are not accepted. Send your best work!
• Composers are encouraged to write works inspired by specific texts of poetry, literature, etc. (Texts should be named in the program notes.)
• Works that utilize the low register of the horn are encouraged
• Works need to be submitted online at

http://www.musicavatar.org/categories/Fifteen-Minutes-of-Fame-Sam-Bessen-horn/index.html

• You will need to register with Music Avatar for free to submit your work online.
• After logging in to Music Avatar, select the opportunity named "Fifteen-Minutes-of-Fame: Sam Bessen, horn" to submit work.
• You will need to provide a maximum 50 word biography and 50 word program notes.
• You need to upload a score as a PDF file (Audio files are encouraged but not required.)
• Please include the dedication to Sam Bessen on the score.
• Performance notes should be included in the score.

Composers will be contacted via email of the results and will be announced via the Fifteen-Minutes-of-Fame website.

Sam Bessen
A native of Phoenix, Arizona, Sam Bessen is a horn performer and teacher in Baltimore, Maryland. Bessen recently completed his Master of Music degree in Horn Performance at the Peabody Conservatory at Johns Hopkins University, where he studied with Denise Tryon. As a performer, Bessen seeks to bring together performer and audience in engaging and innovative recitals often featuring new and obscure works for horn. He recently performed an acclaimed recital at the Walters Art Museum in Baltimore and was subsequently invited to perform on the Museum's ART/SOUND/NOW series on July 27, 2017. He can be heard in the Peabody Symphony Orchestra's recordings with Marin Alsop of works by Kevin Puts and Aaron Kernis, as well as in John Steinmetz' "Three Pieces for Ten Winds" with the Mill Avenue Chamber Players and the Pacific Arts Woodwind Quintet.

Examples of Sam Bessen's playing can be heard here:
www.sambessen.com

Fifteen-Minutes-of-Fame
Fifteen-Minutes-of-Fame is 15 one-minute works by different composers written for a specific performer or ensemble. Fifteen-Minutes-of-Fame gives a variety of new music by living composers to audiences hungry to hear what is being created in today's music scene. "...the 15 Minutes of Fame project of Vox Novus is a godsend. It organizes competitions whereby ensembles commission worldwide calls for submissions of approximately one-minute pieces, and then select their 15 favorites for premieres. " - Seth Gilman, NY Music Culture Examiner

More can be found be found at: www.Fifteen-Minutes-of-Fame.com

Music Avatar
Music Avatar is an online submission system to upload music online. It creates a hassle free process for the composer to submit, update, and upload a submission with confidence that the opportunity will receive it. Check out Music Avatar for more composer opportunities.

For more information visit: www.musicavatar.org/

Vox Novus
Vox Novus is a new music production and promotion company. The organization was created for the purposes of expanding the presence of contemporary music in the public's vision, empowering composers and contemporary musicians to create, produce, and promote their music. Projects Vox Novus is known for producing are 60x60, Composer’s Voice and Fifteen-Minutes-of-Fame.

For More information visit: www.VoxNovus.com


Web Site:www.musicavatar.org/categories/Fifteen-Minutes-of-Fame-Sam-Bessen-horn/index.html

 MASTER CLASS IN COMPOSITION 2017 BUDAPEST
Summary:Composition Course
Deadline: 07 August 2017
Date Posted: 07 June 2017
Details: General Info
Period: 11-14 September 2017
Place: Zeneház (House of Music) seat of Concerto Budapest Orchestra.
Address: Páva utca 10, 1094 – Budapest
Ensemble in Residence: 2 violins, cello, clarinet and piano (first chairs of The National Hungarian Radio Orchestra, Hungarian Opera House and Concerto Armonico). Ensemble conducted by Andreas Luca Beraldo.
Final Concert: 14 September 2017 – House of Music. Budapest

Professors: Sidney Corbett, Alessio Elia

Courses

Alessio Elia
– Implicate/explicate order in the development of musical form. Holographic theory in music
– Aural analysis. How to build a music piece in relation to the acoustical perception

Sidney Corbett
– Scherzo, presto, ostinato: on writing fast music
– Das Große Heft: opera by Corbett based on the Agota Kristof’s novel with the same title

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 PARTICIPANTS
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
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.


LANGUAGES
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

PERFORMANCE OF THE COMPOSITION COURSE STUDENTS’ PIECES
The course provides the performance of the students pieces during the final concert (Thursday, 14 September – h. 19:30).
Composers are invited to write a piece for the ensemble in residence (with conductor):

2 Violins, Cello, Clarinet and Piano.

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 7 August 2017, to the following e-mail address:

info@shelivesmusic.it

ENSEMBLE IN RESIDENCE

Vilmos Oláh, violin (Concertmaster of The National Hungarian Radio Orchestra)

Mikola Roman, violin (Concerto Armonico)

Gyöngyi Ujházi, cello (Opera House)

Gabor Varga, clarinet (First clarinet of The National Hungarian Radio Orchestra)

Krisztina Fejes, piano

Andreas Luca Beraldo, conductor

FEES

Fees (without accommodation)
Active Students: 570 €
Listeners: 300 €

Fees with accommodation for 5 nights in a 2-room flat in the City Center (flat for 2 person)
Active Students: 760 €
Listeners: 490 €

Fees with accommodation for 5 nights in a 1-room flat in the City Center (flat for 1 person)
Active Students: 860 €
Listeners: 590 €

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

Deadline for enrollment and delivery of the pieces and parts

7 August 2017
Web Site:www.shelivesmusic.it/masterclass-eng/

 The Solo and Chamber Timpanist's Initiative
Summary:Compositions featuring timpani
Deadline: 10 September 2017
Date Posted: 07 June 2017
Details: The Solo and Chamber Timpanist's Initiative is thrilled to announce our first-ever call for new solo and chamber timpani music. SCTI recognizes a shortage in timpani repertoire best attributed to the many challenges faced by composers when writing for this instrument.

One Grand Prize Winner will receive:
$200 cash prize
Live broadcasted performance of composition
Studio recording of composition

Four Runner-Ups will receive:
$200 cash prize
Live broadcasted performance of composition
Studio recording of composition

Submissions MUST …

Feature the timpani in a prominent and soloistic role.
Have been composed in the last ten years.
Utilize no more than six musicians.
Not exceed fifteen minutes. May be apart of a larger work.
Not exceed the use of one grand piano.

Submission Deadline: September 10th, 2017 11:59 PM EST

Suggestions
Submissions may consist of one or more movements from a larger work.
Multi percussion setups are allowed and encouraged, provided that the timpani serve as a primary voice in the ensemble.
Exceeding the typical range of the timpani or using more than four drums renders your piece less accessible for public performance.
Pieces that utilize instruments that are accessible in conservatory setting are preferred. These include but are not limited to: winds, brass, strings, percussion, piano, celeste, and voice.
Please make every effort to use unconventional sounds tastefully. These include preparing the timpani with cymbals, temple bowls, and crotales, striking timpani bowls and rims, and striking the timpani heads with brushes and/or other unconventional beaters.

Submission Instructions:
Please submit all relevant materials by emailing sctimps@gmail.com. If files exceed standard sizes, please share a Google-Drive folder instead. This will require the use of a Google affiliated email account.

Submission files may include:

Program Notes/Concept
Musical Score
Setup Diagram(s)
Synthetic or Acoustic Recording

Web Site:www.sctimps.org

 Call for Submissions: Chor Leoni’s Canadian Choral Composition Competition
Summary:Competition for Canadian Composers
Deadline: 15 December 2017
Date Posted: 07 June 2017
Details: (Vancouver, BC) Chor Leoni Men’s Choir and Artistic Director Erick Lichte are pleased to announce the second annual Canadian Choral Composition Competition (C/4). Three finalist compositions will be selected by the choir’s Artistic Director, and an independent panel of judges will determine their rankings (first prize $2000, second prize $1000, third prize $500).

In addition to the financial prizes, the composers of the three works will be brought to Vancouver in February 2018, where they will stay in the luxurious Sheraton Vancouver Wall Centre for three nights. They will collaborate in a rehearsal with Chor Leoni, attend the premiere, participate in a dialogue with the audience at C/4 on Friday, February 23rd at the Orpheum Annex (8pm), and also receive a recording. This competition is generously sponsored by James and Leslie Carter.

Prizes
• $2000 first prize | $1000 second prize | $500 third prize;
• travel to and accommodation in Vancouver from Wednesday, Feb. 21 to Friday, Feb. 23, 2018;
• attendance of a workshop/rehearsal with Chor Leoni on their works on Wednesday, February 21st;
• attendance of the premiere at C/4 on Friday, February 23, 2018, at the Orpheum Annex;
• participation in an in-concert conversation with Erick Lichte from the stage at C/4 on Friday, February 23, 2018;
• a professional recording of Chor Leoni singing the work.

Requirements
• The composer must be a Canadian citizen, permanent resident of Canada, or landed immigrant.
• The work must be for up to 4-part male choir, TTBB voicing; occasional divisi is allowed.
• The work may be a cappella or include piano accompaniment.
• Target length of work should be 3 – 6 minutes.
• Preference will be given to new works but previously performed compositions may be accepted.
• The composer must secure rights to any non-public domain texts, and verification of secured rights for use of texts must be included with submission;
• Scores must be submitted in computer engraved format as a PDF file;
• Submissions must include an mp3 of the score’s midi file.
• Preference will be given to works newly composed for this competition.

Deadline for submissions: Scores must be received by 6pm PST December 15, 2017.

Send scores for consideration to Erick Lichte, Artistic Director of Chor Leoni, at c4@chorleoni.org. Finalists will be notified the week of Jan 15, 2018.

Questions? c4@chorleoni.org

Web Site:www.choralcanada.org/call-for-submissions-chor-leonis-canadian-choral-composition-competition-c4/

 Stephen Paulus Emerging Composer Competition
Summary:Choir competition
Deadline: 15 November 2017
Date Posted: 07 June 2017
Details: Two Emily Dickinson texts have been chosen for the inaugural Stephen Paulus Emerging Composer Competition (both should be set for SATB):

1.

In this short Life
that only (merely) lasts an hour
how much—how
little— is
within our
power

2.

Look back
on Time
with kindly
Eyes—

He doubtless
did his best—
How softly
sinks his
trembling Sun
in Human
Nature’s West—

These Dickinson texts are in the public domain. True Concord thanks The Emily Dickinson Collection, Amherst College Archives & Special Collections as the source of the original.

Submissions will be adjudicated by Dale Warland, composer, founding conductor of Dale Warland Singers, and frequent collaborator with Stephen Paulus; and Dan Asia, professor of composition at University of Arizona.

You can submit your score and MIDI recording by emailing composercompetition@trueconcord.org. Please send a link to your MIDI realization, if possible.

Web Site:www.trueconcord.org/composercompetition/

 CALL FOR SCORES "HUMAN MACHINE" 2017
Summary:Call for Chamber Works
Deadline: 01 September 2017
Date Posted: 31 May 2017
Details: The Ensemble Impronta is pleased to announce a “Call for Scores” for the project “Human Machine”.

Composers are encouraged to submit works for any combination of the following instrumentation, ranging from solo to whole ensemble:

Disklavier, oboe, clarinet, bassoon, violin and cello.

No doublings allowed.

We look for a piece that takes into account the mechanical aspect of the Disklavier and the expressive dimension of the human beings, and the possibility to establish a dialogue between these two different features.

The selected work will be performed at the Yamaha Concert Hall in Vienna on 20 October 2017.

Additionally there is also the possibility for the winning composer to publish his/her work with the Edition Impronta.

Any composer is eligible, regardless of age and nationality. Each work must not be longer than 7 minutes. There is no minimum duration. The submitted pieces can be already performed, but they have to focus on the subject of the concert.

Submission Guidelines
There is an entry fee of 25 Euros for the first work. Additional entries may be submitted for 15 Euros each. Each composer can submit up to 3 works but each work must be submitted as a separate entry. The entry fee has to be paid using the following data.

Account Holder: Impronta – Ensemble für neue Musik e.V.
IBAN: DE75 7002 2200 0020 0465 62
Bank Name: Fidor Bank AG
BIC/SWIFT: FDDODEMMXXX

OR Paypal (see website link)

Reason for payment: CALL FOR SCORES HUMAN MACHINE 2017


List of documents to be attached:

1) Score in pdf format. Submitted pieces must be anonymous, only the title of the piece should appear on the score.
Handwritten scores will be also accepted, but they should be perfectly readable.

2) Mp3 simulation (NOT compulsory)

3) Short biography of the composer

4) Commentary of the submitted works (NOT compulsory)

5) Receipt or screenshot of entry fee payment.

All submissions must be sent and fees paid within 23:59, Vienna time, of 1 September 2017. Entries and payments received after this date will not be considered. The winning work will be announced latest by 10 September 2017. The decision of the jury is final. The results will be announced on our website and across our social media platforms.

The winning composer must provide the parts latest by 20 September 2017. If the score includes the Disklavier, its part must be sent in Sibelius or Finale format.

For further info write to: call@humanmachineproject.com

Rights:
The selected composer retains the ownership of the copyright for the selected work but he/she has to grant Impronta Ensemble irrevocable right to use and perform the work at the scheduled concert in Vienna without any further compensation.

Deadline: 1 September 2017, 23:59 (Vienna time)

Entry fee: 25 Euros per submission, 15 Euros for additional submission of up to 3 submissions per composer.

Application must be sent through the Application Form below.
Web Site:www.humanmachineproject.com/home/call.html

 2018 Female Band Composition Competition Information
Summary:Wind Band Competition
Deadline: 01 November 2017
Date Posted: 31 May 2017
Details: Call for Compositions
We are excited to announce the call for scores for the 2018 Female Band Composition Competition. We are looking for band works that are approximately Grade Three level. The aim is to support works that appeal to a wide array of abilities and tastes. Please see below for all of the details.

The Composition
1) Submissions must:
· be composed by someone who self-identifies as a female composer
· be an original, unpublished composition for band.
· be no more than 10 minutes in duration.
· be approximately a difficulty level of Grade 3 (based on the 1-6 grade level system).
· have been written within 5 years of the deadline.

2) Submissions will only be accepted electronically and must include a .pdf score, a recording (mp3, AAC, .wav, .aiff, etc.) and a completed entry form. While applicants are encouraged to send actual recordings, MIDI realizations will be accepted. PLEASE COMPRESS ALL AUDIO FILES SENT SO AS TO MINIMIZE FILE SIZE.
3) Scores must not include the composer’s name, in order to facilitate blind judging.

4) Composers may re-submit non-winning compositions from this or other competitions. However, once a work has been awarded a prize in any competition, it may not be submitted again.

5) Concertos or solos/ensembles with band accompaniments are not acceptable.

6) The maximum instrumentation is as follows:
· Flute (div. in a maximum of 2) + Piccolo*
· Clarinet (div. in a maximum of 3) + bass clarinet*
· Oboe* (2 parts)
· Saxophone: Alto (div. in a maximum of 2), Tenor, Baritone*
· Bassoon* (1 part)
· Trumpet (div. in a maximum of 3)
· Horn* (div. in a maximum of 2)
· Trombone (div. in a maximum of 3)
· Euphonium (1 part B.C. & transposed for T.C.)
· Tuba
· Double Bass
· Percussion in 4 parts (maximum 2 mallet instruments) + Timpani

* N.B.: Solos written for instruments marked (*) should be cross-cued in other instruments.

The Competition Rules
1) Shannon Shaker (ASU) will oversee the competition.
2) Submissions will be accepted from individuals who self-identify as female.
3) The deadline to submit is 5:00 pm MST on November 1st, 2017
4) The composer of the winning composition will receive a travel stipend of up to $1,000 to attend a rehearsal and the premiere of the piece.
5) All copyright, mechanical rights, and royalty rights remain with the composer.
6) The winner will be announced by email; notification will be sent to all applicants and panel membership, and results will be posted on the Kappa Kappa Psi - Beta Omicron website: http://theregoesbo.org.
7) The decision of the jury will be final.
8) Members of the jury will receive a score and set of parts of the winning composition.
9) The piece will be premiered by Arizona State University's Concert Band, conducted by Shannon Shaker on Monday, April 23, 2018 at Gammage Auditorium in Tempe, AZ. It is the hope of the competition that the winning composer will be able to attend a rehearsal and this performance.

To ask questions about the competition, contact Shannon Shaker at: sshaker@asu.edu.

The Sponsor
Kappa Kappa Psi, Beta Omicron is sponsoring this project. For information on how to be involved, including donating to the project, contact Aliyah Qualls at: adqualls@asu.edu
For all additional questions, please contact Shannon Shaker at: sshaker@asu.edu
Submission Guidelines
Complete the following google form to submit your entry
https://goo.gl/forms/bCCH9vgpVFrC4Zvm2
2) Email a .pdf of your score (name omitted) and audio file to Shannon Shaker at: sshaker@asu.edu
*The deadline to submit is 5:00 pm MST on November 1st, 2017
Web Site:www.kkpsibo.net/2018-female-band-composition-competition.html?utm_content=buffer8afc1&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer

 Royal Conservatoire’s Summer School
Summary:Summer School
Deadline: None
Date Posted: 31 May 2017
Details: During the course students will work with resident ensemble, Musiclab allowing composers to rehearse and hear their work in live performance as well as have work recorded.

Students will benefit from individual composition tuition from a respected and creative team of Royal Conservatoire’s experts and professionally-active composition Lecturers. Our renowned guest artist will be composer Judith Weir.

In order to fully optimise tutorial, rehearsal and recording opportunities, places on this course are limited to eight students per group.

Course outline
This intensive and demanding course will give you an opportunity to develop your individual compositional technique and voice in a questioning and supportive way.

Each day will consist of a mixture of group discussions, group rehearsals, composer talks and seminars, individual lessons and writing (and re-writing!) time.

Daily rehearsals and workshops will allow you to gradually change your work during the course leading to an informal concert that will be professionally recorded and made available to you.

Entry requirements
Applicants should have a relatively advanced understanding of notational skills and preferably access to music composition software such as Sibelius or Finale in order to fully benefit from this summer school.

Students will be required to submit scores and recordings (electronically if possible) for consideration by the Course Leader in advance of being accepted to the summer school.

Younger students may be accepted to the summer school at the discretion of the course leader.

Recordings can be uploaded to your online application form ideally as a Sibelius or Finale file however a private YouTube link or mp3 is also acceptable.

For ages:17+

Dates: 14 August 2017 - 18 August 2017
10am - 5pm
Web Site:www.rcs.ac.uk/lifelong-learning/composition/

 The Tenth Annual Texas Tech Trombone Ensemble Composition Contest
Summary:Trombone competition
Deadline: 01 November 2017
Date Posted: 24 May 2017
Details: The TTU Trombone Ensemble Composition Contest Committee is requesting an original musical work with the following characteristics:

Duration 6 - 8 minutes in length

Instrumentation: Bass Trombone Soloist and Trombone Ensemble. The ensemble may consist of 4 – 8 parts, at the discretion of the composer.

Type of Work: Stand Alone Concert Piece, to be performed at the Fifteenth Annual Big 12 Trombone Conference, January 12 – 14, 2018 at Texas Tech University, Lubbock, TX. Charles Vernon, Bass Trombonist of the Chicago Symphony, is the scheduled feature artist for the conference.

A $1,000.00 Cash Prize will be awarded to the winning composition.

Additional awards may be granted at the discretion of the contest adjudication panel.

FIRST PRIZE WINNERS CANNOT SUBMIT IN CONSECUTIVE YEARS.
Web Site:ttu.orgsync.com/org/texastechtrombones/14_1_Composition_Contest

 WASHINGTON AND LEE UNIVERSITY WIND ENSEMBLE COMPOSITION CONTEST
Summary:Wind Ensemble Competition
Deadline: 31 July 2017
Date Posted: 24 May 2017
Details: Categories
• Undergraduate Composers
o For composers currently pursuing an undergraduate degree in music
o Composers should not be over the age of 26

• Post-Graduate and Professional Composers
o This category is geared towards students working toward advanced degrees in music and professional musicians
o All composers over the age of 26 can apply for this category regardless of student or professional status

Guidelines for the compositions are:
• Entries should be original works, not arrangements.
• Entries should be composed for small wind ensemble. Suggested instrumentation is: Piccolo, Flute 1 and 2, Oboe, Bassoon, Bb Clarinet 1, 2, and 3, Bb Bass Clarinet, Eb Alto Saxophone 1 and 2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, 2, and 3, F Horn 1 and 2, Trombone 1, 2, and 3, Baritone, Tuba, and Percussion parts needing no more than 4 players to perform.
o Deviations from this instrumentation may be accommodated. Please contact contest coordinator Chris Dobbins at dobbinsc@wlu.edu with specific questions
• Entries should have a music grade level between 3 and 5.
• Works should be no longer than 10 minutes.
• Entries should be new pieces composed within the last five years.
• Pieces entered should be World Premiere performances if selected as a winner.

Entries will be judged as follows:

1. Completed entries will consist of a completed entry form (link below), a score in PDF format, and a recording in MP3 format. Scores and recordings should be anonymous with no identifying information other than the name of the piece. Please use the name of the piece as the file name for both files.

2. A panel of Washington and Lee University music faculty members may choose up to one winner in each of the above categories. All entrants in the Undergraduate Composers category will receive feedback from the panel about their compositions. Composers entering the Post-Graduate and Professional category may receive comments upon request.

3. Winning pieces will be premiered by the Washington and Lee University Wind Ensemble during the 2017-18 academic year.

4. Winners will receive audio and video recordings of the premier performance, a $300 prize, and help in contacting publishing companies if there is desire on the part of the winning composer to have the piece published.

Deadline for receipt of submissions is July 31, 2017. There is no fee to enter. Winners will be notified by August 14, 2017, and parts for winning submissions must be digitally delivered by August 28, 2017.


Web Site:christopherdobbins.net/wlu-wecc-2017

 Composition Competition 2017
Summary:Competition for German Composers
Deadline: 28 July 2017
Date Posted: 24 May 2017
Details: Orchestra Filarmonica di Torino (www.oft.it) announces an international composition competition to promote each year the new music of a different European nation.

The 2017 competition will be dedicated to Germany.

The 2017 Competition is open to German composers – officially of German nationality – between 18 and 40 years old (on 28th July 2017).

The compositions should not exceed 10 minutes in length.

The compositions must be compatible with the following orchestral instrumentation:
- strings (maximum 5.4.3.2.1)
- 1 flute
- 2 oboes (no english horn)
- 2 bassoons (no contrabbassoon)
- 2 french horns
The new pieces could use completely or in part the instrumentation above.

The compositions may be submitted in PDF (full score) by 28th July 2017 to the following e- mail address:
composition.competition@oft.it

An audio file (mp3), derived from MIDI rendition, can also be submitted together with the score. Do not send MIDI files or other file formats.

The scores may be written using any music notation software and clearly legible. Competitors can take part in only one composition. The compositions must be unpublished, never performed, nor broadcasted by radio, television and/or streaming, nor presented, awarded and/or reported in other competitions.

To ensure your anonymity to the jury, please make sure that your score is NOT marked with your name but with a motto. In the same e-mail, please also provide the following information (which will not be available to the jury):

A) your contact information (name, address, e-mail, phone)
B) a short description of your life, studies and works.
C) copy of a valid identification document (that proves your age and German nationality)
D) receipt of payment of registration fee
Web Site:www.oft.it//media/news/000013/OFT%20Composition%20Competition%202017.pdf

 TILT ENSEMBLE (Electric TILT Duo)
Summary:Duo Call for Scores
Deadline: 20 September 2017
Date Posted: 24 May 2017
Details: Call for scores, TILT ENSEMBLE (Electric TILT Duo)
TILT Ensemble is pleased to announce a Call For Scores in order to expand his repertoire with new works by contemporary composers. This Call for Scores wants to expand the repertoire of the ELECTRIC TILT DUO (Antonio Bellandi, Electric Piano - Sergio Sorrentino, electric guitar).
The scores must to be write for Electric Piano (Fender Rhodes) and Electric Guitar.
Pieces can involve also electronics or tape. Submitted pieces may be no longer than 12 minutes in duration. There is no minimum duration.

Composers may submit multiple works using a single email. Submissions must be original through compositions, not arrangements. Composers of any age or nationality are invited to submit scores. There are no restrictions on the works submitted, pieces can be composed specifically for this project and Electric TILT Duo, and also pieces may have been previously performed, recorded, and/or awarded.

We will select a maximum of three compositions, which will be performed by the TILT Ensemble before the end of 2017.
The three winner compositions will be performed in the Palace of the Captain of Uzzano (PT), the place where Giacomo Puccini composed the second and third act of Bohème. TILT Ensemble will produce a CD including the three winner compositions. The recording will be published with an historical contemporary music international record label. The first one winner composition will be published by DA VINCI EDITIONS, Osaka.
There is a fee of 20 euro.
Each composer can participate with more works (up to three) paying only one fee.

The fee must to be payed by bank transfer to:
Accademia Musicale Uzzanese “G. Puccini”
Name of bank: BANCA DI PESCIA - CREDITO COOPERATIVO SOC. COOP.
SWIFT CODE: ICRAITRR9Y0
IBAN: IT31H0835870550000000760247

The compositions that will be winners will be performed by the TILT Ensemble during the 2017 Concert Season and the firstt one will be published by DA VINCI EDITIONS, Osaka.
TILT Ensemble will make a CD with the three winner compositions. The recording will be published with an historical contemporary music international record label.

The work should be sent, by e-mail to
antonio.bellandi3@tin.it and to sergiosorrentinoguitarist@gmail.com
no later than september 20, 2017

The e-mail must contain:
Brief biography of the author (Max 300 characters)
Contact information of composer, in a separated file (e mail address, telephone, etc.)
Score in PDF format (score must to be without name of composer)
Short description of the piece.
A copy of the receipt for the payment of the entry fee.

For informations: antonio.bellandi3@tin.it
Web Site:www.facebook.com/TILT-Ensemble-1585228231721337/?ref=aymt_homepage_panel

 FIRST INTERNATIONAL SYMPHONIC COMPOSITION COMPETITION OF PARAGUAY
Summary:Competition with 2 categories
Deadline: 28 July 2017
Date Posted: 24 May 2017
Details: The Orquesta Sinfónica del Congreso Nacional del Paraguay- OSIC, the Centro Cultural de la República "El Cabildo" and the Instituto Paraguayo de Musicología dependent on the Casa Bicentenario de la Música "Agustín Barrios", organizes the First International Competition of Symphonic Composition, in homage to the Centennial of the birth of the writer Augusto Roa Bastos and 30 years anniversary of the death of the composer Carlos Lara Bareiro, which will be governed by the followings rules:

1- Paraguayan and foreign composers will be able to participate, without limit of age.

2- The competition will have two categories:
A - Composition category for tenor and orchestra, which should be written on a text by Augusto Roa Bastos.
B - Orchestral composition category.

3- The works presented, in both categories, should not have been performed in public audition nor registered by some media of mechanical reproduction before the jury's decision.

4- Only one composition per participant will be admitted. The same candidate may not participate in both categories. The composition must be presented under a pseudonym that does not allow the identification of the author.

5- At most, the work must be written to the OSIC orchestral workforce for: 3 flutes (1 changes as a piccolo), 3 oboes (one changes as English horn), 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 1 Trombone Tenor, Harp, Timpani (1 timpanist), 4 stands of first violins, 3 stands of second violins, 2 stand of violas, 2 stands of cello, 2 stands of double basses, besides the solo tenor for category A.

6- At least, the work must have an orchestral workforce of 30 musicians.

7- The work must have between 15 and 20 minutes in total duration.

8- Candidates can send the scores by postal mail, by courier or deliver by the candidate during business days from 7:00 a.m. to 3:00 p.m. to the following address: Primer Concurso Internacional de Composición Sinfónica del Paraguay. Centro Cultural de la República “El Cabildo”. Avda. República y Chile. Asunción, Paraguay.

9- The jury will be integrated by 5 musicians of national and international recognition and its decision will be indisputable.

COMPETITION PROCESS

10- The period of admission of the compositions will ends on Friday, July 28, 2017.

11- If the composition is sent by mailed the date taken will be the one of postmark, which shall not be after the July 28, 2017.

12- The work must be sent in an envelope labeled with the name of the contest: Primer Concurso Internacional de Composición Sinfónica del Paraguay, with the name of the Composition and with the pseudonym chosen by the candidate. The pseudonym itself must serve as the sender. The envelope must contain the following:
1. A printed copy of the complete score with excellent graphic quality. Such copy will bear the title of the composition and the pseudonym (do not include the name of the composer). In the case of category A, the printed copy of the score must have the full text on the first page.
2. Five compact discs labeled with the title of the composition, with the pseudonym and containing the score of a finished music transcription in a software file in letter-size PDF format.
3. Five compact discs labeled with the title of the composition, with the pseudonym and containing the recording of the audio sequence of it from the musical software with which the score was written.
4. A sealed envelope containing: A. The name, address, telephone numbers, email and copy of the identity document of the candidate. B. Note describing, in a single sheet, the author's technical procedures. C. A written statement, that the information provided is true, that the work is legitimate, of its authorship and unpublished; exempting the organizing institutions of any liability; And expressing that, if it is the winner, it grants its authorization for a non- profit diffusion and recording of the composition which will be made public in accordance with the Copyright Law.
5. Another compact disc labeled with the name of the composition and the pseudonym and containing the score and the orchestral parts in letter-size PDF format.

13- The organizing institutions will not be responsible, in any case, for the loss of the works sent or any damage that they might suffer derived from sending them.

14- The competition will award the following prizes:
- "Augusto Roa Bastos" Prize for composition for tenor and symphony orchestra: 8,000,000 (eight million) guaraníes in cash, world premiere of the composition in the 2017 Season of the Orquesta Sinfónica del Congreso Nacional del Paraguay, publication of the score of the composition by the Instituto Paraguayo de Musicología, and commemorative diploma.
- "Carlos Lara Bareiro" Prize for the instrumental composition: 8,000,000 (eight million) guaraníes in cash, world premiere of the work in the 2017 Season of the Orquesta Sinfónica del Congreso Nacional del Paraguay, publication of the score of the composition by the Instituto Paraguayo de Musicología, and commemorative diploma.

15- The copyright will remain in the possession of the author of the work, although it will authorize make public the work

16- Each time the composition is played, the following text must be included in the hand program: “Winning composition of the First International Symphonic Composition Competition of Paraguay”.

17- The verdict of the jury will be announced in August 2017 and will be published on the website of the Centro Cultural de la República "El Cabildo", social networks and national media.

18- Contestants may withdraw the material sent up to two months after the results are published; otherwise, they will be destroyed. The return will be done to the contestants personally.

19- Participation in this competition implies the total acceptance of the terms of this rules by the candidates. Any case not contemplated in the same, will be solved by the direction of the OSIC and the general direction of the CCR "El Cabildo".

Deadline: 28 Jul 2017
Web Site:www.facebook.com/OrquestaCongreso/

 Asia Culture Center Contemporary Music and Performing Arts Festival The 2nd ACC International Composition Competition
Summary:Chamber Call for Scores
Deadline: 20 August 2017
Date Posted: 24 May 2017
Details: Asia Culture Center

Contemporary Music and Performing Arts Festival

The 2nd ACC International Composition Competition

Dates of Festival: September 22-24, 2017 Submissions and Guideline:

1. Works should be related to Asia (subject, material... etc.)
2. Application Form
3. Composer bio and program note (PDF)
4. Score (PDF)
5. Audio file (if applicable, mp3),
6. ZIP all files (labeled LASTNAME_COMPOSITIONTITLE) and send as one zip file to
iscmkorea@gmail.com
7. Deadline: August 20, 2017
8. Winning composers of 1st Composition Competition are not allowed to apply.
9. All selected composers need to ATTEND the festival (4 nights accommodation will be provide)
10. All selected composers are requested 2 more Scores for ACC archiving.
11. All selected composers would be contact personally, or announced on the website, ISCM-Korea Section (www.iscm.kr.or), ACC (www.acc.go.kr)

Composition Competition (age under 35)
- Instrumentation: Piano, Violin, Cello, Clarinet, Flute, Bassoon (3 - 6 any combination)
- Works should be 6 to 10 minutes in duration and written in recent 3 years.
- The submitted work must have had no prior public performances in Korea.
- There is no entry fee.
- Semi-final is set on September 22, 2017
- First Prize ₩3.000.000, Second Prize ₩2.000.000 (Korean Currency)

Works can be submitted here:
https://www.dropbox.com/s/qmc67vlb6kllxj9/2017%20ACC%20Composition%20Com...
Web Site:www.iscm.or.kr

 Annual International Young Composers Academy in Tchaikovsky city
Summary:Young Composer's Academy
Deadline: 07 August 2017
Date Posted: 24 May 2017
Details: Annual International Young Composers Academy in Tchaikovsky city (Perm region) is the unique and only large-scale international young composers’ workshop in Russia. It was set up in 2011 by the leading Russian composer Dmitri Kourliandski (artistic director) together with Moscow Contemporary Music Ensemble.

Academy is a creative laboratory for young composers and musicians from all over the world. Visiting professors are well-known composers who hold individual sessions and group lectures. During fortnight workshop the young composers write new compositions which are rehearsed and performed in the final concerts – in Tchaikovsky, Perm and in Moscow at the best concert stage by the leading Russian group – the Moscow Contemporary Music Ensemble (MCME). Within the Academy there are also organized a number of educational concerts, master-classes for young musicians and special training courses for teachers. At the same time the MCME musicians carry out individual and ensemble master-classes for music teachers. Totally every Academy collected around 100 participants.

The Tchaikovsky city is the very nice place for the Academy. Privacy and rest, remoteness from noise and big cities, wonderful landscapes dispose to fruitful creative concentration. The unique city in the world, called in honor of the composer, apparently, is created to be a cradle of musical creativity.

Among the professors-teachers of the Academy were the well-known composers such as Beat Furrer (Austria/Switzerland), Franc Bedrossian, Philippe Leroux, Jean-Luc Herve, Mark Andre, Raphael Cendo, Fabien Levy (France), Pierluigi Billone, Francesco Filidei (Italy), Carola Bauckholt (Germany), Peter Ablinger, Klaus Lang (Austria), Oscar Bianchi (Switzerland), Antoine Beuger (the Netherlands/Germany).

The Academy in Tchaikovsky city is one of the leading educational music forums in the world. The number of applications is increasing every year. For participation in the Sixth International Young Composers Academy 179 applications from 45 countries were arrived!

7th International Young Composers Academy in Tchaikovsky-city

The 7th International Young Composers Academy in Tchaikovsky city will be held from 28 of August 28 to 12 of September 2017 in Tchaikovsky, Perm and Moscow.

The jury will select 10 students and 5 stagers to attend lessons with our professors: Yannis Kyriakides (the Netherlands), Jérôme Combier (France), Dmitri Kourliandski (Russia), Elzbieta Sikora (Poland). 10 students will compose new pieces for 1-5 instruments to be performed by the soloists of Moscow Contemporary Music Ensemble.

Food, accommodation and transport inside Russia is covered by the Academy.

Applications must include: name, date of birth, short bio (not more then 100 words), photo of passport (valid till December 2017), 2-3 scores of any line up (in pdf), 2-3 downloadable recordings (in mp3).

Age limit – 35 years.

Deadline for the applications – 15 of May 2017.

Please send the applications to the address moscowensemble.academy@gmail.com

Looking forward to see you in Russia!

Composers-Professors

Yannis Kyriakides (the Netherlands)

Jérôme Combier (France)

Dmitri Kourliandski (Russia)

Elzbieta Sikora (Poland)

Special Guest:

Davo van Peursen (the Netherlands), director of Publishing House “Donemus”

Moscow Contemporary Music Ensemble

Ivan Bushuev (flute)

Oleg Tantsov (clarinet)

Mikhail Dubov (piano)

Vladislav Pesin (violin)

Ilia Rubinshtein (cello)

Organizers:

Tchaikovsky Municipal Centre for Developing Arts

ANO Centre for New Music Initiatives

Russian Composers Union Perm Regional Organization

With support from

Ministry of Culture of Russian Federation

Ministry of Culture, Youth Policy and Mass Communication of Perm Region

Administration of Tchaikovsky Municipal Area

Perm Regional Philharmonics

Perm State Culture Institute

Embassy of France and French Institute in Russia

Dutch Embassy in Moscow

Welgelmina Jansen Fonds

Moscow State Philharmonics

Visit Academy’s Facebook page.

Our partners:

Young Composers Meeting (the Netherlands)
The European Musical Creation Workshop (Spain)
COURSE (Ukraine)
Gaudeamus Muziekweek (the Netherlands)
Web Site:m-c-m-e.ru/eng/academy/

 The First International master-courses for young composers in St. Petersburg
Summary:Masterclass Opportunity
Deadline: 07 August 2017
Date Posted: 24 May 2017
Details: The master-courses will take place in St. Petersburg on the base of Russian institute of Art History from November 19 to November 26, 2017.
The invited professors for the master-courses are composers Alexander Knaifel (St. Petersburg, Russia) and Helena Tulve (Tallinn, Estonia).

The master-courses have two sections:
Music for chamber ensemble
Music for chamber choir

The performing ensembles of the master-courses are St. Petersburg MolOt-ensemble and Festino Chamber Choir.

Ensemble lineup:
Flute (also piccolo, alto)
Clarinet (also piccolo, bass)
Piano (also MIDI-keyboard)
Violin
Cello (also bass guitar)

The choir lineup is 16 voices (SATB, four singers for each part)

10 active participants of the master-courses will be selected from the pool of submissions (5 for “chamber ensemble” section and 5 for “chamber choir" section)

Foreign or nonresident participants will be provided with accommodation and meals during the master-courses, but are responsible for their travel to St. Petersburg.
The tuition fee of 100 USD is to be paid upon arrival to the seminar.

Active participation includes writing a new work either for MolOt-ensemble or Festino Chamber Choir (depending on section the participant applies to)
The duration limit is 5 minutes for choir works and 8 minutes for ensemble works.

During the master-courses each participant will have 2 private lessons with invited professors and 3 rehearsals with MolOt-ensemble or Festino Chamber Choir.
Each professor will also read lectures about the important aspects of composition and their own work.
The master-courses will include 2 concerts – the works of invited professors (November 19) and the works of seminar participants (November 26).

Participation as an auditor is possible – all master-courses events are open for the public.

Composers not older than 30 years old (at the time of the master-courses) are invited to apply.

To submit an application, please send the following materials to molot_ensemble@mail.ru before August 7, 2017.
Short bio
2 different photographs
2 or 3 of your recent scores – instrumental works for “chamber ensemble” section applicants and works including voice for “chamber choir” section applicants)
Recordings of the submitted works (desired, but not mandatory; links are OK)
Please indicate the section that you apply for.

For “chamber music” section participants the following instrumental combinations will be offered for writing a new work:

Violin, cello
Violin, cello, piano
Flute, clarinet, violin, cello
Flute, clarinet
Flute, clarinet, piano, violin, cello

The list of selected participants will be announced on August 31, 2017.
The participants will have to send a 50% ready score of the new work in progress before October 1, 2017. The entirely finished scores should be sent before November 1, 2017.

The master-courses curators:
Yaroslav Sudzilovsky,
President of International MolOt Group, the chairman of Youth Department of Russian Composers Union
Artur Zobnin,
Laureate of International Competitions, violinist and director of St. Petersburg MolOt-ensemble
Alexandra Makarova,
Laureate of International Competitions, artistic director of Festino Chamber Choir

Feel free to forward any questions to molot_ensemble@mail.ru
Web Site:www.molotensemble.org/international-master-courses

 2018 Canadian Music Centre Prairie Region Emerging Composer Competition - Call for Scores
Summary:Orchestra Call for Scores
Deadline: 15 September 2017
Date Posted: 17 May 2017
Details: March 17, 2017, CALGARY, AB – Emerging Composers with a connection to Canada’s Prairie Region are invited to submit their orchestral works to the 15th edition of the CMC Prairie Region Emerging Composer Competition for Orchestra with a cash prize of $1,500 and performance by the Winnipeg Symphony Orchestra during the 2018 edition of the Winnipeg New Music Festival (WNMF).

Emerging composers of any age who are current residents of, were born in, or have completed a substantial portion of their musical education in Alberta, Saskatchewan, Manitoba, The Northwest Territories, or Nunavut, may enter.

Submissions must be completed no later than September 15, 2017. See below for full submission requirements.

History:
The CMC Prairie Region invites emerging composers to enter this annual competition produced in late January or early February with the Winnipeg Symphony Orchestra at its Winnipeg New Music Festival. Conceived by anonymous donors, the Canadian Music Centre Prairie Region Emerging Composer Competition prize was first awarded in 2004; 2018 will mark the 15th annual edition of the contest and coincides with the 27th anniversary of the Winnipeg New Music Festival. The winning composition will receive a performance by the WSO during the 2018 edition of the WNMF.

Mentorship:
The winner will be invited to participate in the second annual WNMF Composers Institute, giving them the opportunity to experience the entire Winnipeg New Music Festival from behind the scenes, attending WSO rehearsals and concerts, and participating in professional development workshops with Canadian and international guest composers.

EMERGING COMPOSER COMPETITION REQUIREMENTS
A. Eligibility & Guidelines:
• Applicants must either be current residents of, have been born in, or have completed a substantial portion of their musical education in Alberta, Saskatchewan, Manitoba, The Northwest Territories, or Nunavut. Eligibility should be addressed in a cover letter.
• There are no age restrictions; however, applicants should be composers at the early stages of their professional careers.
• Each composer may submit only one composition for consideration.
• Past winners are not eligible.
• Only works that will not have been officially premiered prior to the WSO world premiere date are eligible. Works that have been read in an academic context are eligible.
• A recording is not required but highly recommended. Computer mockups are acceptable.
• Only works completed after January 1, 2012, will be considered.
• Maximum duration is 10 minutes.
• Instrumentation should not exceed: winds at *2,*2,2,2; brass at 4,3,3,1; timpani plus 2 percussion; harp; and strings (12, 11, 8, 7, 6). *Available doublings are: Flute 2/Piccolo and Oboe 2/English Horn. Works with instrumentation that exceed the above will not be considered.
• Works requiring soloists or employing electronics, MIDI, digital technology, and/or sound reinforcement in combination with the above instrumental forces will not be considered.
• The winning composer must provide professional, legible orchestral parts and scores prepared according to guidelines established by the Major Orchestral Librarians Association.
• The quality of the score submitted is the primary evaluation criteria. It is therefore in the applicant's best interest that the score be clear, accurate, and the best representation of the composer's work. The additional background information is for eligibility and documentation purposes, these materials are not considered in the general review of scores.
• Applications that are incomplete, illegible, late, or that do not meet the above criteria will not be considered.

B. Instrumentation:
Entries should use the following instrumentation: winds at *2,*2,2,2; brass at 4,3,3,1; timpani plus 2 percussion; harp; and strings (12, 11, 8, 7, 6). *Available doublings are: Flute 2/Piccolo and Oboe 2/English Horn. Works with instrumentation that exceed the above will not be considered.
Please note: There will be one 20-30 minute rehearsal plus the dress rehearsal before the performance of the winning work. The suitability of entries for performance with this amount of rehearsal will be a factor in the jury’s deliberations.

C. Duration:
MAXIMUM of 10 minutes.

D. Prize:
The winner will receive $1,500 and a performance of the winning work during the 2018 edition of the WNMF concert with the Winnipeg Symphony Orchestra and a residency during the entirety of the Winnipeg New Music Festival. This affords the winner the opportunity to meet and receive coaching and mentorship from the Festival’s Canadian and International visiting guest composers. The winning score will be chosen by a jury consisting of representatives of the WSO and a CMC representative.

E. Deadline:
Submissions must be completed no later than September 15, 2017. The winner will be notified by October 15, 2017.

F. Submission
Only digital submissions will be accepted this year.
Create a new Dropbox folder using the following naming format: LASTNAME-FIRSTNAME-PieceTitle
Inside the folder, include all of the following:
• An info document indicating your name, contact information, composition title, exact instrumentation, duration, and your status in the Prairie Region; use the naming format LASTNAME-FIRSTNAME-Info
• A PDF score with all references to your name and professional/academic affiliations omitted; use the naming format PieceTitle.pdf
• An MP3 recording, if available, with any reference to your name and affiliations omitted from the metadata (ID3); use the naming format PieceTitle.mp3
Send an email with the subject header CMC ECC 2018 Submission-LASTNAME, containing a link to your Dropbox folder, by the competition deadline to:
prairie@musiccentre.ca
(Do not "share" the folder; only direct links will be accepted.)
The folder and its contents must remain active until December 15, 2017.

G. Send submissions to:
prairie@musiccentre.ca

For more information contact:
Emerging Composer Competition
CMC Prairie Region at
2500 University Drive NW
Calgary, Alberta T2N 1N4
(403) 220-7403
prairie@musiccentre.ca


Web Site:musiccentre.ca/regions/prairie/emerging-composer-competition?field_event_region_value_many_to_one=4

 Bromley Symphony Orchestra
Summary:Orchestra Competition
Deadline: 24 March 2018
Date Posted: 17 May 2017
Details: The BSO committee is seeking a new work for full orchestra to celebrate our 100th anniversary. (Works previously performed in concert will not be considered.) The adjudicator will be Professor Robert Saxton, whose decision will be final. He will choose the winners from the top three finalists, as voted on by the orchestra.

The winner, who must be a UK resident, will receive £1500. The winning work will receive its first public performance in our 2018-2019 season (concert planned for March 2019). The second prize will be £500. The committee reserves the right to select additional works for performance and may assign additional prize money for this purpose.

The work must be ‘celebratory’ in nature, no longer than 12 minutes in duration and composed for symphony orchestra including triple wind (with normal doublings available). Please limit percussion to a maximum of three players, and check with us at the email address below before including unusual instruments, electronics etc. For level of difficulty, composers should be guided by excerpts on our website.

Scores must be submitted by 24th March 2018. Electronic realisations may be appended. Shortlisted works will require parts prepared and printed for a workshop in June 2018. The recording made of each of the finalist’s works at the end of the event will be sent to the finalists, but the rights will remain with the Bromley Symphony Orchestra. At the workshop final, our playing members will vote on the shortlisted works, so it is crucial that parts be prepared to a high standard, including rehearsal marks and/or bar numbers. The works will be judged on musical merit as well as on practicality of performance. They will all be conducted on the day by our conductor, Adrian Brown.

Scores may be submitted from our contact form, by email (PDF attachment) to competition (at) bromleysymphony.org or by post to PO Box 1065, Bromley BR1 9QD.

Please include contact details (name, email and phone number), a brief biography and a programme note for your work. However, personal details must not appear on the score or parts, as the works will be judged anonymously.

Web Site:www.bromleysymphony.org

 International Choral Composition Competition Alberto Grau
Summary:Choral Competition
Deadline: 25 August 2017
Date Posted: 10 May 2017
Details: 1. The Aequalis Foundation announces the first edition of the International Choral Composition Competition "Alberto Grau", as a tribute to the trajectory of this distinguished composer, arranger and Venezuelan choral conductor of Catalan origin, who will turn 80 years old in November 2017.

2. The main objective of the competition is to promote the creation in the field of choral music, encouraging the growth, renewal and diffusion of repertoire written in Spanish for mixed and equal voices in the 21st century from Venezuela, a country recognized by the development of choral art in its different areas.

3. The competition is focused on the creation of new choral music suitable for choirs in the following categories: mixed, female voices, male voices and children. An international jury made up of renowned musicians from different countries in America and Europe: Robert Sund (Sweden), Javier Busto (Spain), Zimfira Poloz (Kazakhstan-Canada), César Alejandro Carrillo (Venezuela), Ana María Raga (Venezuela) will be in charge of the selection of the winning works.

4. Each category will be awarded by a unique prize, as described in the bases. The Competition will award a VoxPopuli mention to the work for mixed choir, composed by a participant from the American continent. The work will be chosen by internet voting. The winner composition will be interpreted by choristers in different parts of the world who will sing in a virtual choir modality. The works to be voted in this category will have been previously selected as finalists by the jury.

5. The Competition will be launched on May 2 and the reception of works will last until August 25, 2017 at 11:59 pm (Venezuela time).

6. The Competition is endorsed by the European Choral Association – Europa Cantat, in strategic partnership with the Europa Cantat XX Festival, to be held in Tallinn, Estonia, 2018.

7. A ceremony to announce the winners will be held within the framework of a gala concert in honor of Alberto Grau between November and December 2017.

8. The works will be premiered in 2018 by recognized choirs from Venezuela and other places of Latin America, in an event that will be announced in due course. The winning composition of the VoxPopuli category will be presented in virtual modality on November, 2018.

9. The International Choral Composition Competition "Alberto Grau" will take place every 3 years.
Web Site:www.ciccag.org/wp-content/uploads/2017/04/presentation-and-bases-international-choral-comp-competition-ag-en.pdf

 7th Harerubeke International Composition Competition (International Composition Competition Harelbeke)
Summary:Wind Orchestra Competition
Deadline: 01 April 2018
Date Posted: 10 May 2017
Details: For the seventh time, the International Composition Competition Harelbeke will be organized in Harelbeke (Belgium). The aim of this competition is to encourage talented composers to integrate the achievements of contemporary music and current composition techniques into wind orchestra compositions.

Contemporary music, more specifically in the sector of music for wind and percussion instruments, deserves permanent backing. As town council, our aim is to motivate composers and performers and to provide a window onto the world. Building a musical bridge between international communities is essential for the future of mankind. This competition contributes to this goal.

A unique feature of this competition is that the works of the three finalists will be performed live by the wind orchestra Koninklijk Harmonieorkest Vooruit Harelbeke.

General provisions

1. The competition is open to composers of all ages and from all countries.

2. Each composer can enter only two works.

3. The duration of the work must be between 15 and 25 minutes (to be stated on the score).

4. The submitted works must be original in every respect: only unpublished works that have never been performed in public nor broadcast on radio or television and that have never won a prize at any national or international competition will be accepted. Adaptations of existing compositions or rearrangements or re-orchestrations of known tunes or folk songs will be rejected.

5. Only music compositions for wind orchestra will be accepted. Works for brass band or chamber music groups will not be accepted.

6. Compositions using electronics will not be accepted.

7. As the three shortlisted compositions will be performed live during the final, the orchestration of the work must not exceed the following instrumentation:

Piccolo; Flute 1&2; Oboe 1&2; English horn; Clarinet Eb; Clarinet Bb 1,2&3; Bass Clarinet Bb; Contra-Alto Clarinet Eb; Contrabass Clarinet Bb;

Soprano Saxophone; Alto Saxophone 1&2; Tenor Saxophone; Baritone Saxophone; Bassoon 1&2; Contrabassoon;

Cornet Bb 1&2; Trumpet Bb 1,2&3; French Horn F 1&2, 3&4; Tenor Trombone 1&2; Bass Trombone; Euphonium Bb; Tuba C;

Double bass;

Timpani; Percussion (max. 6 parts);

Piano; Harp

The works will be performed by an orchestra from Harelbeke with this instrumentation.

8. The score must bear a title and a pseudonym instead of the composer’s name. The submitted score must be accompanied by a scanned application form and a signed declaration of authenticity. The application form can be downloaded from the competition’s website: www.icch.be

9. The name of the composer must not appear anywhere on the score. Nor may the score contain any details that might lead to the identification of the composer.

10. The score should meet the following requirements: (1) realized in digital format (music notation software) and (2) submitted in PDF-format by uploading it onto the website www.icch.be

11. The composer must also include a short written preface to explain the work. If the composer has used an alternative music notation system, it must also be explained.

12. The jury reserves the right not to award all three prizes if the desired level is not reached.

13. The organization will preserve two copies of the score: (1) to be kept in the archive of the competition in Harelbeke, (2) to be kept in the music library of MATRIX in Leuven (http://www.matrix-new-music.be/).

14. The jury will announce the finalists on Monday 16 April 2018.

15. The finalists will be asked to attend a rehearsal with the orchestra on the day before the final. This rehearsal will take place in the presence of the jury members. Each finalist will have one hour to work with the orchestra. Travel expenses will be reimbursed by the organization. Hotel and subsistence expenses however must be borne by the composer.

16. If a prize-winning composer decides to have his work published by a music score publisher, the score must carry the words: with this work the composer was a finalist at the 6th International Composition Competition Harelbeke (Belgium).

17. If one of the finalists is disqualified, another candidate will be selected to take his or her place.

18. The jury’s decisions are final.

19. Entries submitted after the deadline will not be accepted

20. By entering the competition the candidate accepts the competition rules.

Entry to the competition
1. The competition is open to composers of all ages and from all countries. Each composer can enter only two works.

2. All inscriptions are done using the website www.icch.be

3. The submitted score must be accompanied by a scanned application form and a signed declaration of authenticity. The application form can be downloaded from the competition’s website: www.icch.be

Web Site:www.icch.be

 Carillon Composition Competition 2017
Summary:Carillon Competition
Deadline: 15 August 2017
Date Posted: 10 May 2017
Details: Purpose:
To encourage the writing of original carillon compositions by young composers.

Prizes:
* One cash award of $500.
* Premiere performance of the winning composition at the ISU C-HOP Festival 2017.
Upon acceptance of the award, it is understood that the rights for the premiere performance will be granted by the composer to the ISU C-HOP Festival 2017.

Composition Requirements:
* The submitted work shall be an original composition for dance, and for four-octave carillon (tenor C to C4), with a two-octave pedal board (tenor C to C2).
* The composition may be a solo, a duet for one carillon or a work for carillon with one or more other instruments or chorus.
* A transcription or arrangement will not be accepted.
* The composition shall be 4 to 7 minutes in length.
* The submitted work shall never have been published, awarded a prize in another competition, or performed publicly.
* A composer may submit more than one work.

Eligibility:
• The composer must not have been born before September 15, 1982, and must not have been awarded a prize in the ISU Carillon Composition Competition.

Judges:
* Luc Rombouts, Jeffrey Prater, and Tin-Shi Tam.
* The judges reserve the right not to award a prize if the submitted compositions are not of a satisfactory level.
* The decision of the judges is final.

Instructions for submission:
* Submit three copies of the composition.
* The composition must be postmarked no later than August 15, 2017.
* The submitted composition must be legible.
* The composer's name shall not appear on the composition.
* Along with the three copies of the composition, include a small sealed envelope that contains within the composer's name, address, phone number, e-mail address, and birth date. The title of the composition is to be placed on the outside of the small envelope. The small envelope will be opened only after the judges' decision is made.
* Submitted compositions will be returned only if a self-addressed and stamped envelope is provided.

Submit materials to:
Carillon Composition Competition 2017
Iowa State University
Department of Music & Theatre
149 Music Hall
2427 Union Drive
Ames, IA 50011
For more information, call (515) 294-2911, or e-mail: tstam@iastate.edu

Web Site:www.music.iastate.edu/carillon/festival/festival2017/COMPETITION/competition.php

 3rd OPUS DISSONUS COMPOSITION COMPETITION
Summary:Piano call for scores
Deadline: 30 October 2017
Date Posted: 10 May 2017
Details: OPUS DISSONUS is proud of offer the third edition of a piano composition competition open to composers of any nationality and age. We offer a world première recording of at least 3 works and award fees of (BRL) R$ 1000 +
special designed trophy for first place, R$ 500 for second an R$ 500 for third place and interviews with all award-winnings abut their works.

All the submissions are made by internet, and the deadline for sending the PDF files is October 30th, 2017
Web Site:www.opusdissonus.com.br/competition/

 Ruth Watson Henderson Choral Composition Competition
Summary:Choral Competition
Deadline: 01 November 2017
Date Posted: 10 May 2017
Details: About Ruth Watson Henderson and the Competition
One of Canada's foremost musicians, Ruth Watson Henderson is renowned internationally both as a composer and pianist. Her works are acclaimed, performed, and recorded worldwide. The Ruth Watson Henderson Choral Competition was established in 1996 to recognize Ms. Watson Henderson’s invaluable contribution to the art of choral music. Ms. Henderson is very pleased to encourage the contribution to Canadian choral music that the competition provides, and appreciates the work of Choirs Ontario who administers this program.

The Ruth Watson Henderson Choral Composition Competition is a biennial contest for new choral works with categories alternating between pieces for treble voice choirs and pieces for mixed voice adult choirs. The competition exists to provide Canadian composers with the opportunity of contributing to Canada’s rich choral tradition through the writing of original choral works. The winning entry receives a premiere performance with one of the Ontario choirs and a cash award of $2,000.00.

Composition Guidelines for the 2017 Competition (SSA Composition)

• The composition must be an original work for SSA choir 4 – 6 minutes in length. It may be a cappella or accompanied by piano.
• Texts may be sacred or secular and can be in languages other than just English and French (languages that would be familiar to most singers are preferred, especially for SSA compositions). The text must be either original or known to be in public domain, or not currently under copyright but with written permission of the copyright holder. In this case, a copy of the written permission must be submitted with the entry.
• All submissions must not have been previously commissioned, published or performed and must have been composed within the last two years. Arrangements of previously composed works are not acceptable.
• The composer shall retain the copyright of the work.
• Previous award winners are not eligible.

Submission Guidelines:

• Entries should be sent to info@choirsontario.org (electronic submissions are preferred, but if you wish to submit your application by mail, please send it to Choirs Ontario office - 626 Bathurst Street, Toronto, ON M5S 2R1)
• Scores must be postmarked no later than November 1, 2017.
• More than one entry may be submitted, but each entry must be accompanied by a separate entry form and a fee of $25.00 (CDN).
• Four clearly legible copies of the score must be submitted, preferably in pdf format. Scores will not be returned.
• The composer's name must not appear on any score.
• The Award winner will be announced in December, 2017. The Toronto Children’s Chorus, conducted by Elise Bradley, has been selected to perform the winning composition at the spring of 2018.

Eligibility

Composers must be Canadian citizens or permanent residents currently residing in Canada. There is no age limit.


Web Site:www.choirsontario.org/ruthwatsonhenderson.html

 Celebrate Asia Composition Competition
Summary:Orchestra Call for Scores
Deadline: 17 November 2017
Date Posted: 03 May 2017
Details: The Seattle Symphony’s Celebrate Asia Composition Competition seeks to recognize emerging composers who are interested in Asian culture, music and traditions. The winning composition will be premiered by the Seattle Symphony at the annual Celebrate Asia concert at Benaroya Hall.

Celebrate Asia originated in 2009 through collaboration with local Asian leaders who were keen to strengthen bonds with the broader community through a cultural celebration, and was brought to life through partnerships with local community groups to honor and celebrate Seattle’s Asian community.

• Works must have Asian influences (for example: Asian folk melodies, Asian stories and legends, Asian traditional instruments).
• Works must be new, original and accessible.
• Works should be 3 to 6 minutes in duration. (There will be 30 minutes allotted to rehearsing this new work.)
• Works should be for orchestra or chamber orchestra with instrumentation no larger than 3333 - 4331 – T+3 – hp – str. Woodwind doublings are allowed.
• The submitted work must have had no prior public performances in the U.S.
• Interested composers should submit:
o A legible, bound, full score
o A recording of the piece on a CD (midi-format is OK)
o A clear description of the composition’s Asian influence(s)
o A biography, with current address, email address and phone number
o If selected, professionally prepared parts and two scores will be required 90 days prior to the first rehearsal


Web Site:www.seattlesymphony.org/watch-listen/compositioncompetition

 Western Connecticut Youth Orchestra
Summary:Student Competition
Deadline: 15 August 2017
Date Posted: 03 May 2017
Details: In conjunction with its inaugural Composer-in-Residence Program, the Western Connecticut Youth Orchestra announces a call for scores by student composers.

All scores must be submitted by August 15, 2017.

Please see the the link below for the Call for Scores Entry From and Program Information & Submission Requirements.
Web Site:wctyo.org/call-for-scores/

 Hendrix College Candlelight Carol Competition
Summary:Christmas Competition
Deadline: 01 August 2017
Date Posted: 03 May 2017
Details: We are pleased to announce guidelines for the 2017 Hendrix College Candlelight Carol Competition Get Adobe Reader. Now in its third year, the competition welcomes composers of any age or nationality to submit works for consideration. This year, compositions must be a cappella and compatible for programming following the reading of the second lesson in the service (Genesis 22: 1-3, 9-13, 15-18). Texts may be in any language(s), but must reflect upon or relate to these verses in some way; likewise, composers may choose to use the verses themselves as their text. Submissions are due August 1, 2017 via email. A group of finalists will be judged by a review committee including guest judges Dr. Deanna Joseph (Georgia State University) and Dr. Ryan Board (Pepperdine University), Hendrix College music major Noah Adams '19, Dr. Karen Griebling, and Dr. Andrew Morgan. The winner will be announced by October 2, 2017. The winning composer will receive $1,000 plus up to $300 in travel reimbursement to attend a performance. Complete information may be found in the link above.

Please send questions to carolcompetition@hendrix.edu.

Past winners include Gentle Mary Laid Her Child by Alan MacMillan (Connecticut) and A Christmas Lullaby by Edmund Jolliffe. Competition judges in previous years have included Dr. Stephen Caldwell (University of Arkansas), Dr. Dominick DiOrio (Indiana University), and Dr. Matthew Mehaffey (University of Minnesota).
Web Site:www.hendrix.edu/candlelightcarol/

 MIGRATION submission for listening
Summary:Site specific call
Deadline: None
Date Posted: 26 April 2017
Details: A listening room is a place where we listen and talk about what we hear. All submissions should be sent to alisteningroom (at) gmail.com and be clearly titled MIGRATION SUBMISSION.

Migration is something it seems we have all been forced to think about today. In some ways I feel reluctant to grapple such a hot public topic, and I feel even more reluctant to write about it. Yet the incentive is exactly that, how do we grapple with an issue that is not only in the news but also very important? A topic that is effecting or which more then likely will effect everyone in the world. Migration brings about images of other things too, immigration, and being a refugee are in a sense all different levels of human movement around the globe. But so is the migration of animals and non-human entities. While we often present animal migration as normal, and we understand that human hunter gatherers must migrate, how is it that most humans find it so hard to move that we describe such activities as uprooting, as if we are taken away from the very soil that nourishes and keeps us alive, when in fact looking at animal migration, it is precisely this movement that allows for survival.

These are not neutral movements, but stem from various reasons some good, some bad, some very bad. The reason for movement is often survival. This is not an easy subject, but I wish to deal with it as openly and diversely as possible.

The call is open to everyone. Sessions last a day, and everyone is free to come and go as they please. If you wish to submit sounds or music please email us clearly stating as your subject MIGRATION to alisteningroom (at) gmail.com if you wish to submit something which is not online please wetransfer it to the same address, again clearly stating the subject and your name in the message box. If you wish to write something about your submission please feel free to so do. All works will be published on our site and the sounds which are online will be linked.

The date and location of the session will be announced soon.
Web Site:aroomwherewelisten.blogspot.be/2017/04/migration-submission-for-listening.html

 JEROME FUND FOR NEW MUSIC, 2017
Summary:Funding Opportunity
Deadline: 21 August 2017
Date Posted: 26 April 2017
Details: JFUND for New Music
JEROME FUND FOR NEW MUSIC, 2017

DEADLINE: Monday, August 21, 2017 4:30 PM (Central)

The American Composers Forum (ACF) champions composers and other creative musicmakers, and boosts their careers with professional opportunities. Our Jerome Fund for New Music (Jfund) supports the creation, presentation, and subsequent life of a new work. About 10 grants are available: up to $7,000 for the composer or primary artist’s time to create the work, and up to $1,500 to help make it happen and further its potential.

Jfund welcomes applicants from the whole range of musical paths and is committed to supporting a diverse pool of artists.

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

The primary artist (not limited to those who self-identify as a “composer” but eligible to all kinds of artists who create original music such as improvisers) applies with a third party (such as a performing group or a presenter who commits to producing the finished work). The primary artist needs to be at an “emerging” level in her/his career: neither a student (except in certain circumstances) nor an established professional. The proposed project should be a significant artistic and professional leap: a risky but logical next step that will mark a new level of accomplishment. The Jerome Foundation’s definition of an emerging artist can be found here: https://www.jeromefdn.org/apply/composer-soundartist/definition-emerging....
Awards – judged by a panel of artists – are competitive and based on outstanding quality of work, personal musical voice, and exceptional potential to make a career difference. Since its founding in 1979 the program, funded by the Jerome Foundation, has made hundreds of awards and helped launch many careers.

ELIGIBILITY
• Open to emerging artists who are just starting out in their career, under-recognized, with no national reputation, few professional accolades, and no more than a handful of paid commissions.
• Primary artist (creator of original music) must reside in Minnesota or the five boroughs of New York City at the time of application. Project partners may be based anywhere in the world.
• Applicants (primary or partners) may only be a part of one application.
• Previous winners of JFund (formerly JCCP) awards may apply as long as they were more than two years ago and final reports have been submitted.
· The composer applicant can’t be a current recipient of a Jerome Foundation Composer/Sound Artist Fellowship. A composer or sound artist may not receive a fellowship and other Jerome Foundation support for the same work(s).
• Students may apply if their samples and proposal are beyond the scope of accredited course work.
• Projects may take place in a worship setting but not be premiered during a religious service.
• JFund administrative staff members are ineligible.
• ACF membership is not required for JFund applicants, but is strongly encouraged in order to keep informed about future opportunities.
• Proposed works should be at an early stage in their development, and must not be finished by the time of application. Works must be scheduled to premiere after December 31, 2017. Supported projects must be completed within five years of the award date.

SELECTION CRITERIA

• Quality of musical materials, showing singular artistic voice and vision.
• Significance of the project to the primary artist’s career.
• Well articulated compositional planning and overall thoroughness of project.
• Level of commitment by project partners to performing, presenting and furthering the work.
• Relevance of the Enhancement Funds to deepen the work and further the artist’s career.
• The final pool will reflect a range of artists and projects, diverse in genre, gender, and racial origin.

SELECTION PROCESS

ACF staff reviews all applications for eligibility and completeness. A diverse panel of artists familiar with a range of contemporary music will have access to all materials submitted. Each applicant’s complete recordings are listened to by at least one panelist. Panelists convene in St. Paul to make final determinations. Panelists remain anonymous until after the results are announced in late November.

Funder:
Jerome Foundation
Contact Person:
William J. Lackey
Web Site:composersforum.org/program/jfund

 SYDNEY INTERNATIONAL COMPOSERS CONCERTS 2018
Summary:Three Category call
Deadline: 31 August 2017
Date Posted: 26 April 2017
Details: Supported by the SCO Foundation and the composers themselves, the Sydney Contemporary Orchestra (SCO) proudly presents the Sydney International Composers Concerts 2018.

It consists of three concerts:

Contemporary String Quartets (in April 2018)
Contemporary Chamber Music (in July 2018)
Contemporary Orchestral Music. (in October 2018)
Composers of all nationalities and all ages who wishing their orchestral works to be video recorded in concerts, and willing to contribute sharing fees, may submit their works.

Score Submission Form

6 compositions will be selected for each concert to be video recorded in a magnificent concert hall in Sydney Australia.

For more details please visit Opportunities for Composers

Or contact us:

office@sydneycontemporaryorchestra.org.au
Web Site:www.sydneycontemporaryorchestra.org.au/index.php/concerts/event/52-sydney-international-composers-concert-2018

 Shakuhachi Call
Summary:Write for traditional instrument
Deadline: 31 August 2017
Date Posted: 26 April 2017
Details: Call for Scores
Hello fellow Composers,

I am opening up a composition competition/call-for-scores to write a new work for Shakuhachi (traditional Japanese flute). I have been searching for new music to perform but couldn't find a lot of options and had to resort to commission composers to write me new music. After receiving my first work I was more than enthralled with the results and decided that I want to open up my commissions to a wider audience of composers to get the same level of quality and excitement.

The call for scores is simple and easy. I would like to see one or two scores of your work emailed to me at shawnheadmusic ( at) gmail (dot) com along with a $10 submission fee to the same email via Paypal.

Once I have made my decision I will begin the commissioning process, my hope is to commission 15 more composers. The commission cost will depend on the piece and a variety of other factors. In terms of the commission, there may be other instruments added if you would like to do shakuhachi and ensemble or shakuhachi and piano. However, the shakuhachi must play a prominent role.

Upon receiving the commission I will send a variety of material on shakuhachi range, techniques, notation, and private one on one lesson via skype or google hangouts about shakuhachi and to over different materials.

https://www.youtube.com/watch?v=DdENehcNKoI

Above is a link to a work that I wrote for shakuhachi. This will give you an idea of the extended techniques and color capabilities of the flute. If you have any questions, please don't hesitate to email me.

I look forward to seeing everyone's works and hopefully performing a new one!

~~~Last Commissioned Composer Update~~~

Hsin-Jung Tsai (http://library.newmusicusa.org/hsinjungtsai)

Wrote me a solo work under 10' and I will be performing in Houston, TX in May and it will receive four additional performances in Japan.

Web Site:shawnheadmusic ( at) gmail (dot) com

 Allentown Symphony
Summary:Art Inspired Composer Competition
Deadline: 25 August 2017
Date Posted: 26 April 2017
Details: CALLING ALL COMPOSERS! THE ALLENTOWN SYMPHONY ORCHESTRA ANNOUNCES 2017 PICTURES AT AN EXHIBITION COMPOSER COMPETITION

The Allentown Symphony, in collaboration with the Allentown Art Museum in Allentown PA announces its "Pictures at an Exhibition" composer competition. Applicants are invited to submit a compositions between 1-3 minutes in length based upon a painting or work of art from the permanent collection at the Allentown Art Museum (31 North 5th St, Allentown PA 18101).

Six to eight winning submissions will be combined together by composer Larry Lipkis (Moravian College) with newly composed Promenade music and premiered by the Allentown Symphony Orchestra during the March 10 & 11, 2018 classical concerts.

ELIGIBILITY: To apply, you must reside as either a permanent resident or student in Pennsylvania, New Jersey or the Greater New York City Area (Brooklyn, Bronx, Manhattan, Staten Island, Queens, Westchester, Rockland County, & Long Island). The competition is open to composers of all ages.

SUBMISSION DEADLINE: August 25, 2017

APPLICATION FEE: $30

FIRST PRIZE: Performance of your work by the Allentown Symphony Orchestra at the March 10 & 11 2018 Classical Concerts; up to 4 free tickets to the March performances to see your piece performed

SUBMISSION CATEGORIES FOR JUDGING:

K-8
High School
College (up to age 22)
Adult (age 23 and above)
JUDGING CRITERIA:

Creativity, imagination, and originality depicting a work of art through music
Selection and use of orchestral instruments; effectiveness in writing for the orchestra
Clarity of notation
COMPETITION RULES & REGULATIONS

1. Orchestration—

Maximum Orchestra:

3 flutes (option for piccolo), 3 oboes (option for english horn), 3 clarinets (option for bass clarinet), 2 bassoons

4 french horns, 3 trumpets, 3 trombones (2 tenor, 1 bass), 1 tuba

timpani, up to 3 percussion (standard instruments)

harp, piano/celeste

Strings (max—12, 10, 8, 8, 6)

Note: You can write for smaller instrumentation, but not any larger

2. Only one submission per applicant.

3. All submitted scores and parts must adhere to MOLA guidelines.

4. Submissions should be submitted as PDFs. Originals should done in either Sibelius or Finale and if chosen as a winner, applicants must be able to provide a professional level score and set of parts for their composition.

5. Each application must include a Midi sound file.

6. Winning applicants should be available to attend the ASO Concerts on March 10 2018 at 7:30pm & March 11 2018 at 3pm as well as a pre-concert reception on Saturday, March 10, 2018 (time tbd). Travel and lodging is the responsibility of the contestant.

7. Do not include your name on any of the submitted materials, please select a pseudonym to use

8. Applications should include the full title of the piece and the artist's name. Art work must be from the permanent collection at the Allentown Art Museum, 31 North 5th St., Allentown PA 18101; http://www.AllentownArtMuseum.org.

9. Composers will release the rights for 2 performances of their composition by the Allentown Symphony Orchestra and for a MIDI version of their piece to be available for listening at the Allentown Art Museum, as well as for any television or radio broadcast or rebroadcast of the ASO March 10 & 11 concerts.

11. Submitted materials will not be returned.

12. Compositions must not exceed 3 minutes in length.

13. Please print and mail 3 hardcopies of the score to
Attn: Stephanie Kocher
23 N Sixth St.
Allentown PA 18102
Web Site:www.millersymphonyhall.org/education-community/community/composer-competition/

 "Listening to China - 2017 Shanghai" Composition Program
Summary:Orchestral competition
Deadline: 01 September 2017
Date Posted: 26 April 2017
Details: Composition Department of Shanghai Conservatory of Music (“SHCM”) sincerely invites you to participate in a program titled “Listening to China - 2017 Shanghai”. This is the third time that students from worldwide have been invited to take part in the creation for this program and take a cross-cultural journey in Shanghai.

Specific Requirement:

1.The program is open to composition students ranging from undergraduate to doctoral level, there is no age limit as long as the composer is enrolled in a degree program in any country except China.

2.There is no entry fee.

3.Please adapt an audio (or video) designated by SHCM into a work less than 10 minutes performed by vocal (one or two) and orchestra, or Chinese instrument (one or two) and orchestra. You can also take this as a “ novel orchestration” of existing materials (the audio or video material should be audible and recognizable in the work). As the vocal singer will be a traditional Chinese opera performer, please take into consideration the performer’s singing method and capability. We will provide each finalist with a different audio (or video) and the introduction in English.

4.Instrumentation for the work: 3333/4331/T+4 perc./hp/voice (performer singing a traditional Chinese opera)/14.12.10.8.6. A small number of Chinese instruments may be used in the work.

5.The deadline for application is September 1, 2017. A music score for vocal singing or Chinese instrument playing (a demo may also be provided) is to be submitted by October 15, 2017 (when the work is close to completion or has been completed) so that a traditional Chinese opera or instrument performer can practice the work.

6.The full score and the parts in PDF are to be submitted by October 20, 2017.

7.The selection will be made on a rolling basis, if the programme of the concert is full for year 2017 before the deadline, yet the committee deems the applicant possessing a great talent, he/she will likely to be commissioned for next year’s program “Listening to China - 2018 Shanghai”.

8.When selected as a finalist, you will be invited to attend the concert to be held on a certain day between late November and early December in 2017. The concert will be performed by Shanghai Philharmonic Orchestra at the Shanghai Symphony Hall. The attendance of the rehearsal and the concert is mandatory otherwise your work won’t be included in the program.

9.Your accommodation fee and other reception fees in Shanghai for one week will be covered by SHCM, and you will bear the international traveling expenses by yourself.

10.SHCM will pay each finalist Euro 1,000 for his/her work.

11.Further notice of the issues concerning visit to Shanghai will be communicated with each finalist by SHCM.

Materials to be submitted:

1.Your photo, your biography/CV, and a scan of your passport.

2.Score and recording of one recent work that is a good representation of your music (no restriction on the instrumentation).

The link for the programme of previous editions:

https://www.dropbox.com/sh/99s710xfi35wbn0/AACKtjgAXB2cjW84KwCXbea0a?dl=0

Please send your application to the program coordinator Mr. Zhiyi Wang
zhiyi_wang@yahoo.com

The program committee will evaluate your materials and select the finalists.


Web Site:www.dropbox.com/sh/99s710xfi35wbn0/AACKtjgAXB2cjW84KwCXbea0a?dl=0
Email:zhiyi_wang@yahoo.com

 Young Composers Scheme
Summary:Workshop with Brass Quartet
Deadline: None
Date Posted: 19 April 2017
Details: Are you an aspiring young musician aged 14-18 with a passion for classical music? Do you want to develop your skills in composition, instrumentation and arranging?

In conjunction with the International Concert Series at St David’s Hall, Arts Active is offering an invaluable opportunity to learn from and work alongside professional composers and highly experienced instrumentalists from Wales.

The Young Composers scheme consists of monthly composition workshops in St David’s Hall, in which you will be guided and given tuition in writing for a classical ensemble, and hear your compositions tried out loud by the musicians.

The scheme is FREE and will end in a final showcase of your works-in-progress or final pieces where they will be recorded, edited and sent out to you to keep.

This is an exciting opportunity that will look great on further education applications and will be of particular benefit if you are building a portfolio of work for School or university.

This Summer you will have the oppertunity to work with Brass Quintet. During the course you will discover the sound worlds of the different instruments while discovering their cababilities and limitations in order to create your own composition.

Past courses: Writing for Orchestral Percussion, Wind Quintet, String Quartet, Brass Quintet, Composing for a purpose: Education, Theatre, Film & Game, Trio of Harp, Viola and Flute, Trio of Piano, Double bass and saxophone.

Past Composers: Peter Reynolds, Max Davies, Adrian Hull, James Williams, Helen Woods, Rob Westwood, Harriet Riley, Molly Lopresti Richards, Tess Tyler & Ashley John-Long

Web Site:www.eventbrite.co.uk/e/summer-young-composers-scheme-2017-tickets-33395423611?aff=es2

 Musicians (incl. composer) and electronic programmer wanted, Billie Ray Martin
Summary:Set play to music
Deadline: 01 January 2018
Date Posted: 19 April 2017
Details: Closes: 1st January 2018
Location: London
Type: Part time (volunteer)
Salary: Unpaid

Jazz or Classically trained musicians as well as electronic programmers for ‘strange’ music project wanted.

We am looking for a rhodes player and someone who plays ‘weird’ instruments like Ondes Martenod for writing new songs for a new album and with a view to recording an album and performing the pieces live.

The style will be stripped down songs, emotional, moody, soulful but ‘weird’.

For reference please check on youtube:

‘Please forgive my heart’ played live by Bobby Womack and Damon Albarn

and:

Thom Yorke (Radiohead) Cymbal Rush (live)

Other influences to be explored are French chansons of the 60’s and all kinds of strange stuff – there is no limit.

There is also a play set to music I’m working on and again I’ll be looking for co-composers/arrangers etc. More in person.

PS. If you’re not trained but simply mad, that’s good too.

Me:

www.billieraymartin.com

Please contact: alexis.colby@hotmail.co.uk

Please don't get in touch if you do a zillion other things and really don't have time for a committed collaboration.
Email:alexis.colby@hotmail.co.uk

 Indianapolis Christmas Carol Commission Competition
Summary:Carol Competition
Deadline: 31 August 2017
Date Posted: 16 April 2017
Details: The Indianapolis Symphonic Choir announces its eighth annual Christmas Carol Commission Competition in April 2017 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, 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.

Composers 35 years of age or younger (as of December 1, 2017) 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, 2017. Compositions must be in PDF format and emailed to commission@indychoir.org. No consideration will be given to entries received after the deadline. Submitted materials will not be returned. Questions may be e-mailed to commission@indychoir.org. There is no entry fee, although a submission form must accompany the composition.

Text and language are at the discretion of the composer, with the following requirements: 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, 2017 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 2016, will be awarded to the winning composer.

All submissions must be received no later than 11:59 p.m. (EST), August 31, 2017.
Web Site:indychoir.org/outreach/commission-competition/

 REGISTRATIONS ARE OPEN FOR THE INTERNATIONAL COMPOSITION CONTEST “MAURICE RAVEL”
Summary:Competition with 3 categories
Deadline: 27 October 2017
Date Posted: 12 April 2017
Details: Compared to the previous editions, many rules have been changed or modified, also in cooperation with our Spanish partners. We believe that many aspects have been improved, thanks to the experience that we have gained over the years. These new rules, in fact, cover any situation and improve the management of the competition, avoiding any error or delay.

CONTEST RULES

“Participation in this contest implies acceptance of these rules”

INTERNATIONAL COMPOSITION CONTEST “MAURICE RAVEL” (Third Edition)

1 – This Contest is dedicated to the great French composer, but it's open to every musical style, also very far from Ravel's.

2 – This name was chosen because the Contest is organised by the Ravel Association of Novara (Northern Italy). The Association is also responsible for the Ravel Philharmonic Orchestra and Music Academy Maurice Ravel: the choice of the name Ravel, for this Composition Contest, is therefore easily understandable.

3 - The Contest is open to: compositions for symphonic orchestra, bands, jazz orchestras, movie soundtracks, different music styles from everywhere in the world (classic, contemporary, choir and solo singers etc. etc.). The competition is open to any musical expression. From compositions written for a single instrument, to those for large orchestra.

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

5 – PLEASE NOTE that, unlike the previous editions, only two categories will be judged live, i.e. the compositions of only two categories will be performed directly before the panel of judges by one of our orchestras. The compositions of the third category called "All Existing Instruments" will not be played by the orchestra, but will be rather judged after the reproduction of the audio files and the display of the musical score, by evaluating the files sent by the composers, as happens in the majority of the competitions worldwide. We have added this third category to allow the composers to include any existing instrument, including the ethnic ones and those which are rarely used in Western orchestras. Each orchestra, even the larger ones, has its own limitations from an instrumental point of view, therefore it would be impossible to find musicians able to play any instrument, considering the countless instruments in the world.

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

7 - EACH CATEGORY is an independent international contest, with no connection to other categories. Composers who register in 2-3 different categories are basically participating in 2-3 separate contests.

8 - Each composer can register the same compositions both in one of the first two categories and in the third one, since these competitions are independent and will be judged in a different way.

9 - The experience that we have gained after many competitions has helped us understand that some composers find it difficult to accept the exclusion from the semi-final/ final step of the competition, or from the award ceremony. There is no point in remembering that not everyone can win, or sometimes the compositions of an inexperienced student may be preferred over those of skilled artist. Or stressing that, among hundreds of participants from all over the world, only few composers will be able to achieve the desired goal. Therefore, let us remember that, by taking part in the competition, you will automatically accept every point of this Regulation, being aware that you might be excluded even from the first selection.

WHO CAN TAKE PART IN THE CONTEST?

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

11 – No is required a music diploma.

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

13 - Compositions may have been already played in public and may appear on YouTube or other websites; they may also be recorded on CDs/DVDs. Compositions will not be admitted if they won the first prize in other contests, including first-place winners in any category of the first or second edition of this contest. The semifinal first-place winners of every Nation from the last contests may participate with the same compositions, as well as all other finalists who did not win the first prize.

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

15 – THE CONTEST IS DIVIDED INTO 3 CATEGORIES (three different composition contests)

16 – CATEGORY: “LIVE FULL ORCHESTRA”: Compositions with at least 8 different instrumental or vocal parts, with the possibility to use identical or different instruments for each part. Example: violin 1, violin 2, cello, double bass, flute, horn 1, horn 2, oboe. In this case, the minimum number of 8 instrumental parts is reached, although there are only 6 types of different instruments (violin, cello, double bass, flute, horn, oboe). Of course, composers are free to choose any combination of instruments to reach the minimum number of 8 parts. All vocal, choral and soloist parts are also valid. These 8 (or more) parts may also be played by an orchestra of 100 or more elements, with many instruments or choral voices playing the same part. Example: 18 first violins, 20 second violins, 8 cellos, 30 choristers, several percussion instruments etc.

17 - Compositions of this category may include maximum 50 different instrumental or vocal parts, with all possible mixed combinations. The expression “instrumental parts” especially refers to the number of musicians, considering that the same musician may sometimes play several instruments at the same time, such as percussionists. For example, if the same musician plays 4 different percussion instruments, which alternate during the song, these 4 instruments will count for one (instead of 4 different parts). Similarly, if the same musician plays the flute and the piccolo, and these instruments alternate in the track, they will count for one, instead of two.

18 – CATEGORY: “LIVE SMALL GROUPS”: Compositions from 1 to 7 different instrumental or vocal parts, with the possibility to use identical or different instruments for each part (as in the example of the first category). In this category is possible to partecipate also with the compositions for solo instrument (1 part), for example solo compositions for piano, harp, guitar, violin, cello, accordion etc.

19 – LIST OF INSTRUMENTS ADMITTED IN THE FIRST TWO “LIVE” CATEGORIES
Flute
Piccolo
Alto Flute
Bass Flute
Oboe
Oboe d'Amore
English horn
Clarinet in Bb-Eb-A
Bass Clarinet in Bb
Soprano Saxophone
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
Bassoon
Contrabassoon
Harmonica
Bagpipes
Didgeridoo
Horn in F/Bb
Trumpet in C- Bb-Eb
Trombone in Bb/F
Bass Tuba in Bb
Violin
Viola
Cello
Double Bass
Harp
Classical Guitar
Acoustic Guitar
Lute (13 stringed)
Sitar
Pianoforte
Harpsichord
Celesta
Organ (32 Pedals)
Accordion
Bandoneon Timpani
Snare drum
Bass drum
Cymbals
Tambourine
Triangle
Xylophone
Glockenspiel
Tubular Bells
Marimba
Vibraphone
Orchestral Bells
Crotales
Large Gong
Medium Gong
Tam-tam
Sleigh Bells
Bongos
Congas
Timbales
Cabasa
Castanets
Hand claps
Maracas
Rain Stick


VOCAL PARTS
Soprano
Mezzo-soprano
Contralto
Countertenor
Tenor
Baritone
Bass
Choir
20 – In case of doubts, or if you wish to add instruments that are not included in the list, please send us an email.

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

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

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

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

More information:
Web Site:composercompetition.weebly.com/contest-rules.html

 YORKSHIRE LATE STARTERS STRINGS
Summary:Orchestra Seeks Composer
Deadline: 31 July 2017
Date Posted: 12 April 2017
Details: New Music Commission 2017-18

Inspired by the success of YLSS’s previous commissions*, we are now inviting entries for our 2017-18 New Music Commission. Four of the submitted pieces will be chosen for a Workshop with eminent composer and Master of the Queen’s Music, Judith Weir, and YLSS players, and from these one piece will be selected for performance in 2018.

Our aims for the commission are to:

· Create an original piece of music of high quality, which is inspiring, challenging yet technically accessible for YLSS. This will add to the very limited repertoire specifically written for similar orchestras of adult learners.
· Give YLSS the experience of being part of the creative process and of working with a composer. The process of selecting the composer and working on the piece will be designed to involve all YLSS members who wish to take part. Entrants will be encouraged to share with YLSS the inspiration for their piece and discuss the process of composition, to enhance players’ understanding and performance of the music.
· Broaden YLSS’s musical horizons, giving an impetus to developing more adventurous playing and more confident performance.
· Enable an established or emerging composer to work with YLSS in creating a new piece for performance.


* 2007-8 Winner - Paul Burnell ‘3 Pieces for Strings’, premièred at CoMA Contemporary Music Festival July 2008 and featured on BBC Radio 3 ‘Play to the Nation’ October 2008. Guest composer: Philip Cashian.
2009-10 Winner - Laurence Rose ‘a theory of nothing’, premièred at Huddersfield Contemporary Music Festival November 2010. Guest composer: Joe Cutler.
2011-12 Winner - Alison Wrenn ‘Battle of the Winwaed’, premièred at Headingley Music Festival June 2012. Guest composer: Sally Beamish.
2013-14 Winner - Elaine Levene ‘Five Snatched Sonnets’, premièred at CoMA Leeds Concert at Heart June 2014. Guest composer: Emily Howard.
2015-16 Winner – Phil Taylor ‘I See Faces in Everything’, premièred at CoMA Leeds Concert at Heart June 2016. Guest composer: Michael Finnissy.


How we plan to achieve this:

· Stage 1
An open invitation to established or emerging composers to submit a 10-15 minute composition. All entries will be considered anonymously by the Selection Panel and four will be shortlisted for a Workshop.

· Stage 2
A Workshop for four shortlisted composers. Judith Weir will give feedback and coaching on each piece as it is rehearsed with YLSS and its conductor Stuart Hazelton. Judith will also offer an individual tutorial with each shortlisted composer. The Workshop and tutorials will be held in Leeds and we will meet travel expenses up to £50 each for shortlisted composers. One composition will be selected for the commission.

· Stage 3
A commission worth £500 (plus contribution towards expenses) to the selected composer to work with YLSS to develop and rehearse their piece for a performance in 2018.


Timetable:

Stage 1 Invite compositions for the Workshop April 2017
Closing date 31 July 2017
Shortlisting August 2017

Stage 2 Workshop Day in Leeds Sunday 29 October 2017
Tutorials (optional) Saturday 28 October 2017

Stage 3 Rehearsals with commissioned composer Jan-June 2018
First performance Date in 2018 to be finalised


Requirements:

· Compositions should be appropriate for YLSS (see below).
· Compositions must not have been previously performed or published.
· Compositions should be free of any copyright restrictions that may prevent public performance and copy of parts for use.
· Compositions should last between 10 and 15 minutes.
· Entrants should provide 4 copies of their score for selection and be prepared to provide at least one full set of parts on request.
· Entrants should provide a brief programme note (100-200 words) and a short biography.
· There is no age limit.
· There is no geographical limit. Entrants are however reminded that shortlisted composers must be able to attend the Workshop in Leeds and be able to work with YLSS to rehearse their piece if selected as winner.
· The score and parts must be easily legible, computer typeset is preferred.
· The winning composition will be premièred by YLSS at a performance of their choosing.
· The four composers shortlisted for the Workshop will be paid actual travel expenses incurred of up to £50 each.
· The prize for the composition which YLSS chooses to commission will be £500. In addition YLSS will pay towards expenses incurred (travel to rehearsals, copying, etc) up to a max of £200.
· The commissioned composer will be expected to attend two rehearsals to work with YLSS.
· Entries should include:
Application Form
4 anonymous copies of the Score and Programme Note
Biography
· Compositions will be returned if a suitable pre-paid addressed envelope is provided.
· If possible please send a sound file (eg MP3) or CD of your entry - this would be helpful but is not compulsory.

Entries should arrive at the address below by 31 July 2017. Entries received after that date will not be considered. All entries will be acknowledged. We look forward to receiving your entry. Please send to:

YLSS New Music
c/o 1 Meeting House Lane
Acomb
York YO26 5FD

Some information about YLSS that may be helpful:

Yorkshire Late Starters Strings is a non-professional string orchestra based in Leeds but with players from as far away as Hull, Manchester and Nottingham. The orchestra takes players of any standard without audition so players cover a wide range of abilities from about Grade 2 upwards to Grade 8. The majority of players are in the middle range. The range of instruments covers violin, viola, cello and double bass, with a typical total of 30-35 players, well spread across the parts. The mix of instruments/ability can vary from week to week so a piece that is flexible enough to cope with this is desirable.

Although, as late starters, some people have not yet reached a high standard technically, players are enthusiastic and committed (see travelling distance above) and willing to tackle a wide variety of music. In the past we have played music from Lawes and Corelli to Hindemith and Pärt, and have held new music workshops. Despite this it would be unwise to depend too much on unusual notations, improvisations, etc – this is a non-professional orchestra playing to learn and for enjoyment and most players feel more comfortable with notes!

What we do want, however, is music that will be inspiring, expressive, adventurous, and yet playable for the wide range of abilities that we encompass. This is where the challenge lies for the composer – to produce a piece that all players can fully participate in and rehearse to a standard fit for performance. It would be worth thinking about different standard parts not only for first and second violin but also for first and second cello, and third parts for newer players. While the first violin and first cello parts can be technically challenging, the piece should not depend on solo players. If the piece is as good, original and exciting as we hope for, there will be opportunities for further performance by similar groups in the UK and USA with which we have links.

The winner will be chosen by the Selection Panel including composer Judith Weir, conductor Stuart Hazelton and two members of YLSS, after consultation with the orchestra.

If you have any queries about the competition please contact ylss.secretary@gmail.com

Web Site:www.ylss.org/features/

 ÎLE DE CRÉATIONS
Summary:Orchestral Competition
Deadline: 11 September 2017
Date Posted: 04 April 2017
Details: The Competition is open to composers of any nationality who will be under 33 years of age on 1 January 2018 and who are enrolled or have been enrolled in composition and/or orchestration courses between 2013 and 2018 at an institution in the European Union. Entrants shall compose a work for orchestra on the theme “Olympic Games”. The work must have five movements, each two minutes long, for a total of ten minutes. Prizes: Prize of €3,500 Played during a series of concerts Broadcasted on France Musique Published by Editions Durand SalabertEschnig / UMPC.
Web Site:www.orchestre-ile.com/site.php?type=P&id=826

 IIIº CONCURSO DE COMPOSIÇÃO JORGE PEIXINHO / 3rd COMPOSITION COMPETITION JORGE PEIXINHO
Summary:Competition with two categories
Deadline: 02 October 2017
Date Posted: 04 April 2017
Details: The 3rd International Composition Competition GMCL / Jorge Peixinho is organized by the Grupo de Música Contemporânea de Lisboa (Contemporary Music Group of Lisbon) and its main purposes are the encouragement of musical creation and his divulgation, thus contributing to the increase of the repertoire of chamber music. Has a biennial periodicity.

Composition of the jury: Ivan Fedele (President), Gerhard Stabler, Clotilde Rosa, João Madureira, Pedro Figueiredo, Jaime Reis e Jorge Sá Machado.
The art work and application form must be sent by registered mail, until October 28 2015, to the following address:

Concurso de Composição – GMCL
Rua do Varatojo, 50
2790-443 Queijas
PORTUGAL

There will be two categories within the formation of GMCL (mezzo-soprano, Flute, Clarinet, Violin, Viola, Cello, Harp, Percussion and Piano):

A – Music for the Ensemble (complete formation of the group)
B – Chamber Music (minimum of four performers).

In all categories electronics may be included.

Two prizes will be awarded in each category, 1st and 2nd prizes. The winning works will have the edition of the score and parts for AVA publisher and its presentation in concert with broadcast on national radio, Antena 2.
First awards (Categories A and B) will also be assigned € 2.000 prize money.

contact: gmclconcursocomposicao@gmail.com
Web Site:www.gmcl.pt/concurso-de-composicaocomposition-competition/

 League of Composers/ISCM 2017 Composers' Competition
Summary:Call for Scores (flexible size ensemble)
Deadline: None
Date Posted: 04 April 2017
Details: Entry fee
$25 per work

Submission Deadline
August 1, 2017

Prize
$1000 and a New York City performance*, possible nomination to the next World Music Days

Guidelines

Eligibility
All composers are eligible to enter. Only US composers can be selected to represent ISCM at the World Music Days.

Composition Requirements
Works for solo instrument, small ensemble, or any combination up to a chamber orchestra may be submitted. Works featuring voice, choir, and/or electronic media will also be accepted. Works should be no longer than 20 minutes in duration. There are no stylistic limitations. The instrumentation limit for a guaranteed performance is eight (8) players.

Submission Requirements
Our submission process is entirely electronic. Since judging is done anonymously, all traces of the composer's name should be removed from submitted score and audio. No pseudonym is needed. If the work you wish to submit cannot be submitted through our online submission process, please contact Luke Dahn for assistance at lukedahn@gmail.com.

Adjudication Process
The judging panel will judge the competition during the summer of 2017 and endeavor to complete the process no later than September 1, 2017. If the judges choose more than one winner, the monetary award will be divided evenly among the winners, and each composition will receive a performance in New York. Winners must be willing to provide conductor’s score and parts in a timely manner at his or her cost. Questions should be addressed to lukedahn@gmail.com.

Submission Information and Materials
Name; Email; PDF of score (composer's name removed); MP3 recording, if available (50MB limit; MIDI realizations will be accepted); Bio or CV; Entry fee payment (on subsequent page).

Payment method
Submission will not be complete until entry fee payment is submitted. You may submit payment on the submission form. Alternatively, a check may be mailed to the following address:

League of Composers/ISCM
c/o Friedrich Heinrich Kern
24 Waverly Place RM 268
New York, NY 10003

*The League will make every effort to perform the winning work. In the case of an instrumentation that is not available, the League will perform an alternate work of the composer.
Web Site:leagueofcomposers.org/competiton-submission/

 Call for Solo Clavichord Pieces
Summary:Solo Keyboard Call
Deadline: 30 September 2017
Date Posted: 04 April 2017
Details: The Daniel Blitz Clavichord Project and Vox Novus are calling for solo clavichord pieces. The works should contain 100 notes or less and be specifically written for this project. Due to the nature of the instrument a recording will be made for the selected composers opposed to a public performance.

A native of Wisconsin, David Bohn received degrees in composition from the University of Wisconsin, University of Wisconsin-Milwaukee, and the University of Illinois. His primary composition teachers were Joel Naumann, Yehuda Yannay, and William Brooks. He currently resides in West Allis, Wisconsin, and is organist and choir director St. John's Evangelical Lutheran Church in West Milwaukee. His works were heard across the United States, in nine European countries, Israel, Brazil, and Australia. He is President of the Wisconsin Alliance for Composers, Vice President of the Wisconsin Chapter of the Organ Historical Society, and on the board for the Milwaukee Chapter of the Organ Historical Society; he also edits the newsletter for the Wisconsin OHS. Dr. Bohn has previously premiered three different Fifteen Minutes of Fame sets from two different calls.

In January 2017, I was given a clavichord my mother’s cousin, Daniel Blitz, built in the 1960's from a kit purchased from Zuckermann Harpischords. Daniel passed away on March 1st of 2017, seven weeks short of his 94th birthday. In his honor, I am posting a call for solo clavichord pieces. Given the retiring nature of the clavichord, a public performance is not planned. Rather, the pieces will be recorded and made available on Youtube.

• Deadline for submissions: September 30, 2017
• Works should be for solo clavichord (unfretted, range of four octaves and a fourth, C-f)
• Electronics/tape accompaniment will not be considered.
• The works should consist of a maximum of 100 notes; the definition of a note is left to the composer.
• Works should be composed specifically for this project.
• All pieces must be premieres and not previously performed.
• Multiple submissions are not accepted; send your best work!
• Works need to be submitted online at http://www.musicavatar.org/categories/Call-for-Solo-Clavichord-Pieces/index.html
• You will need to register with Music Avatar for free to submit your work online.
• After logging in to Music Avatar, select the opportunity named "Call for Solo Clavichord Pieces" to submit work.
• You will need to provide a maximum 50-word biography and 50-word program notes.
• You need to upload a score as a PDF file (Audio files are not required.)
• Works should be inscribed “For the Daniel Blitz Clavichord Project”.
• Selected compositions will be recorded early in 2018, and will be posted on youtube beginning on March 1st of 2018, the first anniversary of his passing.

Vox Novus is organization with bold ideas and several initiatives that it proliferates throughout the globe. Keeping with it mission to empower the new music community, Vox Novus has founded, produced, and presented several creative projects to accomplish its goal. Vox Novus collaborates and fosters endeavors with other new music organizations in order to strengthen the community.

Web Site:www.musicavatar.org/categories/Call-for-Solo-Clavichord-Pieces/index.html

 Silenzio Musica Competition
Summary:Voice composition competition
Deadline: 24 July 2017
Date Posted: 03 April 2017
Details: The Cultural Association DGMA, is pleased to announce the 4th Edition of the Silenzio Musica Competition under the Patronage of: Commissione Europea, Regio- ne Emilia-Romagna, Provincia di Rimini, Comune di Riccione, EUA-UN European Union Association-UN, ASEM-UN Asia Europe NGOs Network, Rosini Gut- man Foundation.

The Silenzio Musica Competition theme of this year is the Lullaby, one of the most ancient musical expressions with a long history of countless outstanding works in music, as well as in poetry and visual art. Lullaby is a high didactic and social value – it is the first natural musical form by which the baby, is introduced to music and to the rhythm of life, as well as the first and fundamental instrument in human learning.

Composers of any nationality, with no age limit, may apply.
There is only one section, and the composers may choose from two instrumentations: Soprano solo / Soprano and piano.
Entries must include a score and an audio recording or a digital simulation.
The lyrics that will be set to music must be chosen from among those specifically proposed by DGMA and published on the site of the association. Composers may also receive them upon written request to DGMA administration office. The composition must be between 3’ (three minutes) and 7’ (seven minutes).

AWARDS

The first place winner will receive a scholarship of € 500,00 (five hundred Euros) and a work of art by an international artist.
The second Classified will receive a work of art by an international artist. The third Classified will receive a work of art by an international artist.
The classified compositions will be published by Ut Orpheus Edizioni, Bologna along with the poems proposed and their authors, and perfor- merd during the evening of the concert “Dal sogno alla rêverie” within the festival Musica d’Arte 2017.

The first three classifieds will be awarded with prizes, the scholarship and the certificates of merit at the award cere- mony on August 26, 2017, during the concert within the festival Musica d’Arte 2017. In case the winners will not be able to attend the award ceremony, the delivery of the scho- larships and prizes to the recipients of the awards, will be arranged by DGMA.

DEADLINE

The deadline for sending the scores is Monday, July 24, 2017, (date as postmark or electronic sending date). Scores must arrive at DGMA by July 28, 2017.

JURY

The international Jury is formed by: Massimo Botter (com- poser), Uri Brener (composer and performer), Carlo Fiore (music critic), Delilah Gutman (composer and performer), Gaia Maffezzoli (composer). The Jury has the right to accord to other non classified compositions, special mentions and their performance during the award concert; it also has the right, as well, not to award prices. The decisions of the Jury are final. The classified Composers will be notified by telephone and e-mail, and published on www.dgma.it web- site by August 20, 2017.

DOCUMENTS TO BE ATTACHED

The anonymous envelope or electronic file must include:
a five copies of the proposed score clearly legible. Each copy must bear, in block letters or typed, with black ink, the title and the year of composition, a motto or pseu- donym (no reference that might allow the identification of the author is permitted), the duration of the work and a cd with the instrumental recording or a digital sound simulation of the work (.mp3 format).

b a sealed envelope bearing the same motto or pseudonym chosen for the score, the envelope must contain:
– the herewith enclosed detachable application form completed and signed in all its parts.

– the entrant’s name surname, date and place of birth, photocopy of an identity card or equivalent;
– the title of the submitted composition and date of the composition along with a signed declaration stating that the composition is unpublished and original;

– composer presentation and explicatory notes;
– instrumentation and duration;
– postal address, telephone number (fax, if any) and e-mail address;
– a copy of the entry fee payment receipt.

The envelope or the electronic file must be sent to:

Associazione Culturale DGMA c/o Delilah Gutman
Via Ippolito Nievo 11
47838 Riccione (RN) – Italia
or e-mail address: dgma@pec.dgma.it

REGISTRATION FEE

The entry fee is € 50,00 (fifty). For Composers who are still students at Music Academies, Conservatory or University - and for each second and third work - the entry fee is 25€ (twenty five). Payment of the fee:

Associazione Culturale DGMA
Banca Carim, Viale Dante - Riccione (Rn): Bank transfer from Italy
IBAN: N 06285 24120 CC0208000370

Bank transfer from abroad
BIC SWIFT CRRNIT2R
IBAN: IT85 N062 8524 120C C020 8000 370

CONDITIONS

The submitted Composition must be original, unpublished and never been performed in a public concert. Each Composer may submit from one to a maximum of 3 works. Each additional composition shall be enrolled separately and sent in separate envelope. The cover of the score must bear the title of the composition and the motto or pseudonym. The score must be clearly photocopied in black & white, writ- ten with black ink, or printed out from a computer (with an appropriate notation software). The applicant must keep the original copy of the submitted work and forward five copies of it to DGMA. The materials submitted will not be returned. The entry fee will not be reimbursed. Exception is made in case the Competition 2017 will be suspended by an official communication of DGMA. The registration to Silenzio Musica Competition implies full acceptance of the regulations. Any claim must refer to the text in Italian. Pla- ce of jurisdiction is Foro of Rimini - Italia.

CESSION OF RIGHTS

By participating in Silenzio Musica Competition the se- lected composers cede the following rights free of charges to DGMA: the performance rights for the world premiere of the winning work within the music festival Musica d’Arte 2017; the rights to broadcast all the performances of the win- ning works by television or radio or any other means, including broadcasts on the Internet, cable networks, satellite, terrestrial or other broadcasting means, live or prerecorded, in Italy or abroad; the right to record, reproduce and arrange for the reproduction of all performances of the Festival on record cd, cd-dom/cdi, dvd or any other existing or future medium.

INFORMATION

Associazione Culturale DGMA c/o Delilah Gutman
Via Ippolito Nievo 11
47838 Riccione (RN) – Italia Sede Legale:

Via Monte Titano 8
47900 Rimini – Italia
tel. +39 347 7717575 / + 39 345 0310255 info@dgma.it
www.dgma.it
Web Site:dgmaindex.com/competition-2017/
Email:dgma@pec.dgma.it

 South Dakota Synod of the Evangelical Lutheran Church in America
Summary:Choral Composition Competition
Deadline: 25 July 2017
Date Posted: 28 March 2017
Details: Call for Scores – Deadline: July 25, 2017
The South Dakota Synod of the Evangelical Lutheran Church in America (SD Synod) is sponsoring a Choral Composition Competition in conjunction with the Lutheran Church’s worldwide commemoration of its 500th anniversary. It is intended that the winning compositions will be included in a community commemorative service that will take place on November 1, 2017, at the Denny Sanford Premier Center in Sioux Falls, SD.
The South Dakota Synod, ELCA Choral Composition Competition will award two winning compositions from two pools of submissions:

1 Open to all composers with no age restriction. Prize: $1000
2 Open to composers 25 years of age and younger as of July 25, 2017. Prize $500

Eligibility and Guidelines
1 Works to be submitted must be unpublished, and must not have received a prize for a previous competition, but they do not need to have been composed specifically for this competition.
2 Works must be 3-6 minutes in length and with a difficulty level that would allow a massed ensemble of church choirs the ability to prepare the work over a six-week period.
3 Works may be entirely original compositions or arrangements of pre-existing hymns or other melodies in the public domain or for which usage permission has been obtained.
4 Works should be scored for SATB choir, either a cappella or including organ and/or other instruments. Works that incorporate congregational singing are encouraged but not required.
5 Works must be composed using a text that relates to the Lutheran Reformation 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.
6 A cappella works should be written in open score with a piano reduction underneath.
7 Works must be submitted in a PDF format produced using music notation software.
8 Applicants should submit two PDF copies of the composition—one with the composer’s name on it and one unattributed (without the composer’s name)—to pnesheim@augie.edu.
9 The winners of the competition will give the right to SD Synod to webcast and/or telecast the premiere performance of the winning compositions live and post a video of the performance on YouTube.
10 The winning composers will be invited to attend the commemorative service, however, travel and accommodation to attend the performance will be at the cost of the composers.
11 The panel reserves the right not to name winners if suitable compositions are not found.

The deadline for submissions is July 25, 2017.
Direct questions to Dr. Paul Nesheim at pnesheim@augie.edu or (605) 274-5402.
Web Site:sdsynod.org/choral-composition-competition/

 Composition competition LAUDEM 2017
Summary:Choral competition
Deadline: 15 September 2017
Date Posted: 28 March 2017
Details: LAUDEM, the Association of Liturgical Musicians of Canada, organizes a composition competition on the occasion of the 375th anniversary of Montréal

Eligibility:

Every person, regardless of nationality or age, who is not member of the Administrative Council of LAUDEM, is eligible to apply.

Important dates:

Friday, September 15, 2017: Deadline for submitting the works.

Monday, October 9, 2017: finalists and winner(s) are announced during the annual Study Day, organized by LAUDEM, which will take place on October 9.

Sunday, November 12, 2017: concert featuring the works of the finalists and the winner(s), included in the Oasis Musicale concert series at Saint George Anglican Church in Montréal.

Le mercredi 22 novembre 2017, Interprétation de certaines œuvres retenues au Concours LAUDEM à l’occasion d’une messe en l’honneur de Sainte Cécile à l’église montréalaise dont elle est patronne.

Wednesday, November 22 2017: Presentation of certain works during a mass honouring Saint Cecilia at the Montréal Catholic church of which she is the Patron Saint.

Beginning of 2018: publications of the winning compositions (and others, as per discretion of the jury) by LAUDEM Publishing House.



Jury and prizes:

The jury will comprise the members of the Administrative Council of LAUDEM.

The composer will receive a monetary prize of CAN $500

The winning work will be published by LAUDEM Publishing House.

The jury can choose more than one winning work. In this case, the monetary prize will be divided between the composers of the winning works.

The jury can accord more than one prize and can recommend more than one work for publication.

The decisions of the jury are final.

Participation:

The work must use the text provided, but it does not have to be necessarily composed for the competition.

The work may have been performed before the competition.

Each composer may submit more than one work.

The work will be scored for SATB without divisi, a cappella, or with organ.

Fees:

There are no fees to participate in the competition.



Submission:

The following information and documents will be sent to laudem.canada@gmail.com:

1) A word of PDF file containing your name, nationality, date of birth, e-mail address and phone number.

2) Score in PDF format, letter size or A4 size.

Text (translation included to facilitate comprehension):

The psalmody is included here as information only. You do NOT have to use it in your composition.

Tubas cum cytharis jam nunc assumite. Now take hold of trumpets and zythers

Triumphum Martyris jam nunc celebrate. Now celebrate the triumph of a martyr.

Angelorum et Virginum agmina. Troops of the Angels and Virgins,

Et cum voce laetitiae dicite. With the voice of gladness say:

[O felix Caecilia! O felix Caecilia!] [O blessed Cecilia! O blessed Cecilia!]

Praeclara sitiens illa victoriae Thirsting for a brilliant victory,

In corpus saeviens virtute gratiae. In her body to fury burst the strength of grace,

Tradit furentibus. (Her body) that she delivers to the furious.

Membra mucronibus. Her members (which she delivers)

to their sharp instruments.

[O felix Caecilia! O felix Caecilia!] [O blessed Cecilia! O blessed Cecilia!]

Et nos qui gemimus favens nos respice. And we who moan, look at us favorably.

Saepe quem laesimus sta coram judice. Stand before the Judge whom we have often offended:

Liberis det mentibus ad caelum tendere. May He give our souls, when detached from their bodies,

to go to Heaven.

Purgatosque sordibus fac tecum vivere. And purified from their defilements,

make them live in your company.

[O felix Caecilia! O felix Caecilia!] [O blessed Cecilia! O blessed Cecilia!]
Web Site:www.laudem.org/accueil/actualites#concour

 III Krzysztof Penderecki International Composers’ Competition
Summary:String Orchestra Competition
Deadline: 15 August 2017
Date Posted: 20 March 2017
Details: Radom City can be proud of its centuries-old music tradition. The most distinguished Polish composer of the Middle Ages, Nicholas of Radom, created his music in this royal city. It emphasises the standing and the importance of the centre, also on the cultural map of the Jagiellonian country. The people of Radom have always felt a strong need to create and exist in a cultural field. It is proved by organisation of the International Composers’ Competition - Certamen Compositorum Internationale ARBORETUM and the commitment of one of the most distinguished composers of our times, Krzysztof Penderecki. The Competition originated from the need to experience art, felt both by creators and the public. The regulations of the competition clearly state that Professor Krzysztof Penderecki is the person who is responsible to decide which of the composers has created a work deserving special recognition. Six compositions will be presented during the competition’s second round, concert for final selection performed by the Radom Chamber Orchestra under the baton of Maciej Zoltowski. It will take place in the Krzysztof Penderecki Concert Hall in Radom on the 18th of November 2017. ARBORETUM accepts works scored for a string orchestra, which are not performed nor published before the date of the final concert.

Jury: Piotr Moss, Paul Patterson, Maciej Żółtowski
Chairman of the Jury: Prof. Krzysztof Penderecki

Deadline for entries: August 15th, 2017

Final Concert: November 18th, 2017 Krzysztof Penderecki Concert Hall in Radom

Total value of prizes: 45000 PLN
Web Site:www.rok.art.pl/arboretum/en/

 Announcing the 2018 Garth Newel Piano Quartet Composition Competition
Summary:Piano Quartet Competition
Deadline: 28 November 2017
Date Posted: 20 March 2017
Details: Previous winners:
2015 - Polina Nazaykinskaya; Russia
2013 - Paolo Boggio; Italy
2012 - Alberto E. Colla; Italy
2011 - Ivan Bozicevic; Croatia

Prize
The Winner will receive:
• A $3000 cash prize
• A performance of the winning work by the Garth Newel Piano Quartet on the 2018 Summer Music Festival in July, 2018
• A travel stipend to work with the Garth Newel Piano Quartet and attend the premiere in Hot Springs, Virginia
• A high-quality audio and video recording
• Frequent performances of their work by the Garth Newel Piano Quartet, and an eventual studio recording for public release by the quartet.
• NEW! Winner will have the opportunity to also participate in a short-term residency during the time of the premiere. The residency will take place during Garth Newel’s prestigious Emerging Artist Fellowship chamber music program.
• The winner will have the opportunity to work closely with the Garth Newel Piano Quartet and our 12 Emerging Artist Fellows, with the possibility of readings and performances of additional works by the composer involving all or any combination of 5 violins, 3 violas, 3 cellos, and 1 piano.
• Receive high quality recordings of these reading sessions and performances
• Collaborate and network with talented musicians from the top music schools.


Guidelines
▪ Submitted works must be for violin, viola, cello and piano. Piano trios and quintets are not accepted.
▪ There is no time limit for works.
▪ Submissions from any composer, regardless of age or citizenship, are welcome.
▪ The work must be originally conceived as a piano quartet. Arrangements of previously completed work that have been performed or published are not acceptable
Refer to our FAQ for more clarification

Restrictions
Compositions are ineligible if:
They require live electronics or cannot be performed with just stereo playback
The work has already received a professional premiere.
If they are a transcription or arrangement of another work that has been performed or published.
They have already been professionally recorded for commercial CD release;
The work, in any instrumentation, has been published.
Refer to our FAQ for more clarification

Each composer must submit:
A legible score and parts of professional quality labeled with a pseudonym. No marks identifying the composer may appear anywhere on the score. The title of the work is permissible.
An envelope labeled with the composer’s pseudonym. Information within the envelope should include the composer’s name, address, telephone number, email address and one-paragraph biography.
A digital recording of the work labeled with the composer’s pseudonym (CDs or flash drives are acceptable). MIDI realizations are acceptable.
A self-addressed stamped envelope of appropriate size if the composer wishes to have their materials returned.


All materials should be mailed to:
Composer Competition
Garth Newel Music Center
403 Garth Newel Lane
Hot Springs, VA 24445

Deadline
All materials must be received by November 28, 2017. Applicants will be notified of the result by e-mail no later than January 31, 2018.

Web Site:docs.google.com/document/d/1esFV2uZzQNhqsWlrCnF6oLsP8uXAajx4A822n9irC9Q/pub

 Francis Chagrin Awards
Summary:Funding Opportunity
Deadline: 14 August 2017
Date Posted: 20 March 2017
Details: Want that helping hand in creating your new work?

The Francis Chagrin Award is for composers looking for that quick top-up to get them to the next step in creating new work. An easy application process could lead to getting awarded on average £100 for costs associated with composing. Apply now before the next deadline at Noon Monday 14th August 2017.

"Sound and Music is committed to supporting the extraordinary range of practices that make up new music in the UK, and this new award aims to provide regular support towards the costs associated with the making of work. Whatever style you are working in, whatever background you are from, if you are struggling with the costs of composing a new work, I would urge you to consider an application.” Richard Whitelaw, Sound and Music’s Head of Programmes

Find out more about previous recipients of the Francis Chagrin Awards here.

How to apply

You may apply for The Award at any time of year, completing a simple application form. There are three dates where applications are assessed across the financial year (April - March) in August, November and February.

Deadline

Noon Monday 14th August 2017 for costs between 1st April 2017 – 31st March 2018
Web Site:www.soundandmusic.org/projects/opportunity-francis-chagrin-awards

 Kazimierz Serocki 15th International Composers’ Competition 2017.
Summary:International Chamber Competition
Deadline: 15 August 2017
Date Posted: 13 March 2017
Details: Under the honorary patronage of the Ministry of Culture and National Heritage, Mayor of the City of Warsaw

TOTAL VALUE OF PRIZES: 31.000 PLN

Deadline for entries: August 15th, 2017

REGULATIONS

Competition
The competition is open to composers of all ages and nationalities.

More than one score per composer is permitted.

It is possible to submit works already performed and/or awarded in other competitions, excluding compositions already published.

Genre
Only compositions for chamber ensemble of 3 to 5 instruments (chosen from the list below), without conductor.

Instruments: 1 flute, 1 oboe, 1 clarinet, 1 bassoon, 1 french horn, 1 piano, 2 violins,

1 viola, 1 cello.

Use live electronics or tape is not permitted.

Duration: from 10 to 16 minutes.

Prizes
The First Prize – 16.000 PLN

The Second Prize – 10.000 PLN

The Third Prize – 5.000 PLN

PWM Edition’s Special Prize for the Youngest Winner: a set of Polish contemporary music scores.

Jury
Paweł Łukaszewski (Poland)

Paul Patterson (United Kingdom)

Dariusz Przybylski (Poland)

The decisions of the Jury are final.

The prize winners’ concert
The awarded compositions will be performed on 10thof December 2017 in the Witold Lutoslawski Concert Studio, Polish Radio, at a special concert organised by the ISCM Polish Section and Polish Radio Channel 2. The concert will be broadcasted and offered to all members of the European Broadcasting Union.

The composer of the awarded work must provide all the performance material at their own expense and send them to the ISCM Polish Section until 1st of November 2017.

Composers declare that they possess all rights to their pieces, their composition is original and all materials (parts and full score) are available to the Competition’s organiser free of charge.

Entries
The score should be submitted anonymously and marked with an alphanumeric emblem.

Sealed envelope marked with the same emblem containing the following data should be attached:

-composer’s full name: first name (s), surname, gender,

-date and place of birth,

-nationality,

-address, telephone, e-mail address or fax,

-title and duration of the composition,

-brief programme note about composition in English, (or Polish and English)

-biography and current photo of the composer.

The entries should be sent to the following address:

Iwona Kisiel – ISCM Polish Section

Poste Restante

ul. Ogrodowa 3

05-200 Wołomin

Poland

Tel/fax: (+48) 22 827-69-81

Mob. (+48) 535-266-363

e-mail: ptmw@epistola.pl

The deadline for submission of scores is August 15th, 2017. The postmark is decisive.

Entry fee

Entry fee for participants is 220 PLN (50 EUR) for each score.

The amount should be sent in one of the following ways: PAYPAL on the ISCM Polish Section's website: www.ptmw.art.pl (preferred) or bank transfer (bank charges covered by a sender) to the following account:

ISCM Polish Section

PKO Bank Polski S.A., Warsaw Branch

account number (IBAN): PL 77 1020 1013 0000 0302 0127 1394

Code BIC (Swift): BPKOPLPW

The payment receipt must be enclosed with the submitted score.

Cheques will not be accepted.

The entry fee is not refundable.

Final Provisions

Entry in the Competition is synonymous with acceptance of the Regulations.

Compositions not meeting the requirements stated in the above Regulations will not be admitted to the Competition. In such case the entry fee is not refundable.

Contentious cases will be resolved based on the Polish version of the Regulations of the Competition.

The submitted scores will not be returned.

Director of the Competition – Maciej Żółtowski

Secretary of the Competition – Iwona Kisiel

The Competition is realised with financial support of the Minister of Culture and National Heritage
Web Site:ptmw.art.pl/2016/11/29/kazimierz-serocki-15th-international-composers-competition-2017/

 COMPOSING FOR PERCUSSION 2017
Summary:Percussion Workshop
Deadline: None
Date Posted: 08 March 2017
Details: As an ensemble, Cisum shares a goal of expanding and developing the styles and capabilities within modern day percussion literature. The vast wealth of backgrounds the ensemble possesses span a plethora of musical styles and creates a unique environment in which anything is possible. The group revels in the performance of a crossbreed of styles such as contemporary classical music, rock, minimalism, funk, jazz, combined with the use of visual arts and theater. Constantly seeking out new works and composers, Cisum Percussion continues to explore this genre-melding sound world.

In an effort to further expand their educational outreach, and to more easily give composers the tools they need for success, Cisum Percussion presents a three (3) day workshop with a focus on writing for percussion. Twelve (12) composers will be selected as fellows for the program to receive one-on-one access to rehearsals/instruction as well as free admissions to concerts and masterclasses. Each of the composer fellows will receive a world premiere and a recording of a new work written for percussion. Cisum Percussion views this opportunity not only as a learning experience for composers, but rather an opportunity to create career-long relationships between musicians and composers.



WORKSHOP OVERVIEW

The workshop is being hosted in Brooklyn, NY from October 6-8, 2017

Day One

The first day consists of six (6) rehearsal slots for the composer fellows. These rehearsals are closed to the public in order to give full attention to the detail of each piece of music. Composer fellows are welcome to take notes, make rehearsal recordings and become hands-on with the instruments. We are there to bring your creation to life.

After rehearsals, Cisum Percussion will host the first masterclass of the weekend. The first masterclass is open to the public and will feature varied repertoire from the standards to brand new works. They will tackle problems and solutions when writing for percussion in varied ensemble settings. (guest speakers to be announced)

Day Two

The second day consists of the six (6) remaining rehearsal slots for the composer fellows. These rehearsals are closed to the public in order to give full attention to the detail of each piece of music. Composer fellows are welcome to take notes, make rehearsal recordings and become hands-on with the instruments. We are there to bring your creation to life.

After rehearsals, Cisum Percussion will host the first concert of the weekend. The first concert is open to the public and will feature six (6) world premieres by the visiting composer fellows. The concert will be recorded on video and audio as well as live streamed through Facebook.

Day Three

Cisum Percussion will host the second masterclass of the weekend. The second masterclass is open to the public and will feature varied repertoire from the standards to brand new works. They will tackle problems and solutions when writing for percussion in varied ensemble settings. (guest speakers to be announced)

After the masterclass, Cisum Percussion will host the second concert of the weekend. The second concert is open to the public and will feature the remaining six (6) world premieres by the visiting composer fellows. The concert will be recorded on video and audio as well as live streamed through Facebook.

Web Site:www.cisumpercussion.com/workshop-overview/

 Musicfest Aberystwyth Advanced Composition Course
Summary:Advanced Composition Course
Deadline: None
Date Posted: 01 March 2017
Details: Musicfest Aberystwyth Advanced Composition Course, for composers of postgraduate or early professional level, co-directed by Arlene Sierra (Cardiff University) and Kenneth Hesketh (Royal College of Music).

The course will consist of regular sessions alternating with workshops, as well as performance opportunities with detailed feedback from resident and visiting composers and performers. Students will work on a new composition for the resident ensemble Solem Quartet, which will be rehearsed and performed as part of the Musicfest Aberystwyth main programme. Successful applicants will also receive additional workshop opportunities with festival ensembles and soloists suited to composers’ particular experience and approach. An orchestral reading session will be available for short original works (the exact instrumentation will be provided at the time of acceptance) with the Orion Orchestra.

Course activities
• Presentation/discussion of participants’ music
• Workshops and talks with Musicfest guest soloists, and with the resident ensemble Solem Quartet
• Seminar on collaboration and promotion between Composers and Conductors
• Seminars and presentations with visiting composers
• A premiere performed in the Musicfest Aberystwyth main programme, Aberystwyth Arts Centre, by Solem Quartet
• Orchestral reading of a short work given by the Orion Orchestra and an assigned student conductor

Students will have access to pianos, keyboards, computers, printing facilities and audio equipment.
Details about specific projects will be provided at the time of acceptance into the programme.

For less experienced composers, enrolling as an observer is recommended, allowing active participation in classes and discussions, and the opportunity to learn from observing all classes and rehearsals.

Early application is advised as places are limited to seven students, selected by CV and portfolio comprised of two scores, with two audio recordings of recent works – at least one recording and score should be of the same material.
The cost of the course is £595 (Observers : £120) which includes a free pass to all concerts, recitals, masterclasses and talks during MusicFest during the 8 day course.
Bursaries of £240 are available for all students in full-time education in UK. (bursaries of international students are also available) There is limited availability to these bursaries so we would advise early booking.

Cost of accommodation is an additional £260 for standard rooms of £300 for ensuite accommodation for 8 days. All accommodation is in student halls. Guidance price for cost of course and accommodation (dependent on bursary allocation) is £595.

MusicFest Aberystwyth is a unique festival and international summer school which takes place annually in Aberystwyth with a main concert programme of popular and rarely heard works which take place in the Great Hall concert auditorium at Aberystwyth Arts Centre and a Fringe festival which takes place throughout the town allowing opportunities for musicians to engage with new audiences through concerts and recitals in shops, in museums, on trains, on street corners, in the National Library of Wales, in galleries and hotels. The MusicFest experience is eight days when all guest artists, summer school students and audiences can fully immerse themselves in music within a unique community atmosphere with the inspirational backdrop of the Cardigan coastline and the Snowdonia National Park.

Important: booking notes
To apply for a place on this course, you will need to provide access to some additional information which will be used to assess your application. Ideally this information should be saved as files on a shared drive (such as google drive, dropbox, soundcloud), and the links to the files provided in this form. If this is not possible, then you should fill in the form as best you can and then contact mufstaff@aber.ac.uk to arrange access to the information.

Files required:
1 current CV including compositional experience, courses attended and performances
2 Two recent scores
3 Corresponding sound files for these two scores
Web Site:musicfestaberystwyth.org/events/composition-2/

 X INTERNATIONAL ACCORDION COMPOSITION COMPETITION FRANCISCO ESCUDERO
Summary:Solo accordion competition
Deadline: 05 September 2017
Date Posted: 01 March 2017
Details: • Hauspoz Euskal Herriko Akordoei Elkartea, calls for the X International Accordion Composition Competition "Francisco Escudero" whose prize ceremony will be held on 16 of September 2017.
• The objective of the contest is to promote the creation of pieces for solo accordion and for accordion in chamber music.
• The works may be composed for solo accordion or for chamber music with accordion, and their length may not exceed 10 minutes. The works of chamber music must be composed for a maximum of four players in which there is at least one accordion.
• The competition is open to composers of any age and nationality.
• Pieces written before 2013 will be refused.
• Works presented may be commissioned, but must never have been previously performed either in public or through any digital or mechanical means. Works that have been previously awarded or published will not be admitted.
• Only electro-acoustic clips recorded in one of these two formats are admitted: audio CD (no Wav) 44.1 KHz/16 bits; Mp3. CD recordings and scores will be sent by certified mail. MP3 pieces will be sent to info@hauspoz.org.
• Awarded works will be published by the organization. The jury may even consider at their discretion the publication of other works that haven't been awarded.
• Scores can be handwritten (legible and without amendments or corrections) or computer-generated. The awarded composer commits to convert the winning composition to electronic format within 30 days after announcement of the prize and submit the winning composition in electronic format to contest organizers.
• The organization reserves the right to propose awarded works for performance at the next editions of the "Arrasate Competition" for accordionists. Therefore the organization will have the right to record, produce and distribute the performance of awarded works without any economic benefit to the composer, except for those derived from the rights given by law.
• The composer will hand in three anonymous copies with no visible personal signature in an envelope, which will be identified only by a code or a theme. Works submitted should be enclosed into a sealed envelope which is clearly marked on the outside with the chosen title or headword of the composition, whereas the following details should be included within the envelope: composer's name and surname, phone number, address, e-mail and signed formal statement proving that the work submitted is unknown and has never been published or performed before.
• The entry fee is 30 euros. 10 euros for ‘Hauspoz' members.
• Closing date will be 5th September 2017.
• The organization, together with the jury, reserves the right to declare prizes void, in which case, a personality or an organisation will be awarded in gratitude for the trajectory of their work.
• It is compulsory that the following caption be included in all concert programs, as well as in printed publications and audio media where the awarded work appears or is mentioned: First Prize of the 10th International Composition Competition Francisco Escudero.

The participation will imply that the contestant accepts the terms of the competition
Web Site:www.hauspoz.org/index.php/en_EN/concurso-fco-escudero/bases-2009

 Pacific Edge Voices Call for Scores
Summary:Vocal call
Deadline: 01 August 2017
Date Posted: 01 March 2017
Details: February 25, 2017
Pacific Edge Voices, Call for Scores 2017

Berkeley CA, 2/20/17 - Pacific Edge Voices announces a call for scores for performance in 2018. This is an opportunity for composers to hear their work performed live and in concert. Scores must be submitted by August 1st, 2017.

This call for scores is open to composers of all ages and of all nationalities. Up to two compositions will be selected.

“Pacific Edge voices is a vocal ensemble with deep experience in rhythmic, innovative work,” explains Director Dr. Lynne Morrow. “We have a fondness for texts that speak to the best of the Human Condition.”

Pacific Edge Voices prides itself on performing cutting-edge music. Works that stand out as genre-bending or out of the ordinary will be given special consideration. Scores do not need to be premieres although never-performed work is encouraged. Pieces should be under 30 minutes in length. Longer works may be considered for performance in 2019. This call is for music written for mixed chorus, SATB, with up to eight parts. Scores can be a cappella arrangements or have piano accompaniment. Mp3 is desired but not required for entry.

Composers will be notified about score selection by October 1st, 2017.

Scores can be submitted in one of two ways. PDF scores can be emailed to info@pacificedgevoices.org. Printed scores can be mailed to:

Pacific Edge Voices
PO Box 8568
Berkeley, CA 94707

More information about Pacific Edge Voices is available at pacificedgevoices.org
Web Site:www.pacificedgevoices.org

 Trio Anima Mundi 2017 Composition Prize
Summary:Piano Trio Competition
Deadline: 01 September 2017
Date Posted: 22 February 2017
Details: Trio Anima Mundi (Kenji Fujimura – piano, Rochelle Ughetti – violin, Noella Yan – cello) is an international award-winning chamber music ensemble based in Melbourne, Australia. Their annual subscription series has become noted for its eclectic and diverse programming, presented by the ensemble with ‘welcome energy and persuasive authority’. Along with the standard canon of music for piano trio, Trio Anima Mundi has rediscovered many gems from the past, presenting rare performances of works by the likes of Theodore Dubois, Hermann Goetz, and Charles Stanford. Their debut CD recording of piano trios by William Hurlstone, Max d’Ollone, Dag Wiren and Miriam Hyde on the Divine Art label was a 2013 Musicweb International Recording of the Year. The seventh Trio Anima Mundi Composition Prize will be held in 2017.

REGULATIONS

Eligibility: The competition is open to living composers of all ages and nationalities. Previous winners of this competition are ineligible. Composers must submit a work for piano trio (piano, violin, cello) of 6-10 minutes duration. It may be a multi-movement work, but the total duration must not exceed the maximum of ten minutes. No electronics or amplification are permitted. The internal workings of the piano (such as string plucking) may not be used.

The submission must consist of:
- completed application form
- copy of the application fee payment receipt
- short biography (approx. 200 words)
- short programme notes about the composition (up to 200 words)
- publicity photograph; and ONE COPY EACH of:
- full score (piano) - violin part - cello part (optional: MIDI recording)

The minimum size for the score will be A4. We strongly encourage you to submit your composition score and parts as Sibelius (.sib) files (or PDF files) on a USB drive, SD card, or CD-ROM, or submit via online file transfer (such as Wetransfer). We will also accept printed submissions via post.

If a recording (e.g. MIDI) is available, it can be submitted in .wav, .mp3 or mp4 format (optional). The submitted work may not have been previously published, performed, commercially recorded or received an award from another competition. Multiple entries are permitted. However, each score must be accompanied by a separate application form and fee. The submission must be made via anonymous entry. A codename must be chosen and indicated on the application form. All scores must be marked with the codename. Scores must not have any marking which may identify the composer.

Deadline for submission: All entries must be received by 5pm Australian Eastern
Standard Time on Friday 1st September. Late submissions will not be accepted.

Application fee: AUD$40 per entry. This must be paid online by going to www.trioanimamundi.com and following the links to the composition prize.

Selection process: All submitted works will be reviewed by a jury panel, which will include members of Trio Anima Mundi. Any jury member or their students will not be able to participate in this competition.

The jury’s decision is final and may not be appealed. The jury reserve the right not to award a prize, or to share the prize.

Prize: The winning entry will receive a cash prize of AUD$1000 and its world premiere performances during the 2017 Trio Anima Mundi Series. Two performances will be made, on 29th October and 12th November, and may be recorded for future broadcast or CD. All participants must agree for their work to be performed, recorded and broadcast by Trio Anima Mundi.

Participants will not receive any fee for the premiere performances or broadcast of their work. In the event that there is more than one winner, the prize money will be shared at the discretion of Trio Anima Mundi. The prize winner(s) must agree for their name and images (e.g. photographs) to be used for publicity purposes, without remuneration, by Trio Anima Mundi.

The winner(s) of the 2017 Trio Anima Mundi Composition Prize will be notified via email and announced on the Trio Anima Mundi website (www.trioanimamundi.com) by Friday 13th October. The winner(s) will be offered a complimentary ticket and invited to attend the premiere performances. Any travel and accommodation-related costs will not be covered by Trio Anima Mundi. After the premiere performances, the composer must agree to indicate clearly in any subsequent (published or unpublished) score, recording or performance of the winning work that the work was ‘winner of 2017 Trio Anima Mundi Composition Prize’.

Return of scores: After the winner is announced, no scores will be returned unless the initial submission is accompanied by a self-addressed envelope large enough to contain the scores, and with sufficient postage for return receipt. Trio Anima Mundi will not take any responsibility for scores which are unable to be returned due to insufficient postage.

Postal Entries to be sent to:

Associate Professor Kenji Fujimura
c/- Sir Zelman Cowen School of Music, Building 68, 55 Scenic Boulevard,
Monash University, Victoria, AUSTRALIA 3800 Electronic Entries to be sent to: Kenji.fujimura@monash.edu

Enquiries: kenji.fujimura@monash.edu

Applications close: Results announced: Premiere performances:
5pm, Friday 1st September
Friday 13th October
Sunday 29th October and 12th November
Web Site:www.trioanimamundi.com/blank-page

 Hillcrest Wind Ensemble 2017/18 Call for Scores
Summary:Wind Ensemble Call
Deadline: 06 November 2017
Date Posted: 22 February 2017
Details: Eligibility
This composition competition is open to all North American composers. Members of the HWE and their families are not eligible. All entries must meet the guidelines below to be considered.

What we’re looking for:
1) Style/Subject Matter: All styles of music will be considered. All compositions must be original works for wind ensemble (composer’s transcriptions are okay) and NOT have been previously published or performed in order to be performed as a World Premiere Performance. (No self-published works will be accepted – publish your work after the contest.)

2) Wind Ensemble: score for standard wind ensemble. We have the following instruments:
6 Flutes (up to 3 piccs), 2 Oboes, 2 Bassoons, 1 Eb Clar, 6 Bb Clar, 1 Bass Clar, 1 Alto Clar or Contra Alto Clar, 2 Alto Sax, 1 Tenor Sax, 1 Bari Sax, 5 Cornets/Trumpets, 4 Horns, 3 Trombones, 2 Euph/Baritones, 2 Tubas, 1 String Bass, 1 Timpani, 1 Mallet, 2 Percussion
Do NOT include English horn, soprano sax, harp, piano, etc. We don’t have those instruments.
We have limited technology for electronics. If your composition includes electronics it should be easily accessible. Vocals are permissible for up to 4 singers, SATB or solo voice.

3) Duration: Preference is given to works between 4 and 10 minutes in length.

4) Entry Fee(s): The entry fee is $20 for each submission. If submitting pieces via E-mail, then checks should be mailed under separate cover to the address below.

5) Difficulty: Pieces should be for medium to advanced players. Grade 3 to 5.

6) If in the opinion of the judges no entry is deemed worthy of the prize, none shall be awarded.

Deadline for submissions: November 6, 2017 (postmarked or E-mail by 11:59pm).
The winning entries will be notified in December 2017. Parts needed by January 10, 2018.

Awards
There will be two cash awards: 1st place of $500.00 and 2nd place of$250.00. Winning pieces will be performed at the HWE Spring Concert in 2018.

What to submit
1) Score: professional quality score which is bound or a PDF file E-mailed.

2) Composer information: Information sheet with your name, address, telephone number and E-mail.

3) Recording: Live or MIDI sound file is okay. Recordings must be WAV or MP3 format. If we can’t listen to it, we won’t consider it. CDs should be labeled. E-mailed files should be MP3, 6MB max.

4) Entry fee(s): a non-refundable application fee of $20.00 in the form of a check must be included with each submission. All checks must be made payable to "The Center - HWE", with “HWE Composition” noted in the memo. US funds only. Entry fees are tax deductible.

Email PDF score and MP3 file (no larger than 6mb) to hwe.contest@gmail.com
Entry fee can be mailed separately, but must be postmarked no later than November 6, 2017.

You may alternatively mail hardcopies and recording (WAV or MP3 file) to:

Hillcrest Wind Ensemble
PO Box 3606
Chula Vista, CA 91909

For questions E-mail: jjwink@cox.net
Web Site:www.hillcrestwindensemble.com/index.html

 Works for baritone (voice) and piano or organ for church use
Summary:Voice works required
Deadline: None
Date Posted: 22 February 2017
Details: I am the bass section leader at First Presbyterian Church in Bonita Springs, FL. I am looking for repertoire to perform as a part of church services as introits or offertories. Works should be at least two minutes long, set a sacred English text (Biblical or a sacred poem, etc.), and be scored for baritone singer with piano or organ. Texts can be general Christian texts or specific to the church calendar (Lent, Advent, etc.). Single movements from larger works are welcome. The Biblical Songs (Op. 99) of Dvorak are a good guide for the type of thing I am looking for in terms of subject matter, but I welcome a variety of harmonic languages (tonal, post-tonal, etc.).

Please send a PDF file of scores and link to recordings (if available) to bahrline@yahoo.com.

I perform at least one solo a month, so I am looking for works continually. If chosen I will provide you with a recording and bulletin from that weeks service. Depending on the season and church schedule, I a may perform the work on 1-3 services in a given weekend.
Email:bahrline@yahoo.com

 360 XOCHI QUETZAL: Free Artist Residency in Central Mexico.
Summary:Residency Opportunity
Deadline: 30 July 2017
Date Posted: 22 February 2017
Details: The 360 XOCHI QUETZAL Artist and Writer's Residency Program is located in Chapala, Jalisco, Mexico on the shores of the largest lake in the country where the perfect year-round climate and stunning lake and mountain views have long established the region as an international artist mecca. Residents will be inspired by the natural beauty, history and culture of this special part of central Mexico. Chapala is located 25 minutes from Guadalajara International Airport and 45 minutes from Guadalajara, one of the largest cities in Mexico boasting abundant cultural resources: museums, galleries, theatre and artist supplies. Xochi Quetzal is the Aztec goddess of creativity and fertility and protector of artisans. She is sure to inspire you during your stay!
MISSION: Our aim is to support artists, writers and musicians who would benefit from having uninterrupted time to devote to their creativity. By providing free housing and five gourmet meals a week, we hope that our residents can make artistic progress without the stress and distractions of daily life.*
CRITERIA: National and international visual artists, photographers, writers, playwrights, new media makers and musicians over the age of 23 are welcome to apply for the competitive residency. We base our selections on artists who demonstrate artistic accomplishment, submit a well-conceived residency project, indicate that this residency will make a significant impact and provide evidence of the self-reliance required for a residency in the developing world. Two-person collaborative teams are also encouraged to apply.
JURORS:
Alice Fogel, Juror for Writers and Musicians
Alice is the State Poet Laureate of New Hampshire (USA) 2014 – 2019 and recent winner of the Nicholas Shaffner Award for Music in Literature for her book Interval. Alice is the author of three poetry collections, including, Be That Empty (Harbor Mountain Press, 2007). She is also author of Strange Terrain: A Poetry Handbook for the Reluctant Reader (Hobblebush Books, 2009). Alice teaches creative writing and poetry at Keene State College, Keene, NH and Landmark College, Putney, Vermont. http://www.alicebfogel.com/
Justin Lytle, Juror for Musicians
Justin R. Lytle is an artist, comhttp://www.alicebfogel.com/poser, and designer based in Northern California. Justin holds a BFA from Cornish College of the Arts, and his work is found in various public and private collections. Justin is a classically trained pianist, and uses the medium of sound design as a foundational tool for his contemporary sculpture practice. He is the owner of Studio Arno, a small design studio, and he composes for the Seattle based music project Holy Cities. Justin was the second Resident at 360 Xochi Quetzel and has now joined us as the music juror. www.justinlytle.com
Deborah Kruger, Juror for Visual Artists
Deborah is the founder of 360 Xochi Quetzal and a mixed media artist who exhibits internationally. Her work in mixed fibers and screen printing is in private collections throughout North America. View her work at www.deborahkruger.com
RESIDENCY DATES:
Winter residency: December 14, 2017 - January 13, 2018
Additional residencies will be announced to our mailing list. To add your name, please click on the box at the top of our webpage: www.360xochiquetzal.com
You may also write to us in either English or Spanish at 360xochiquetzal@gmail.com
WINTER DEADLINE AND NOTIFICATION: The deadline for the Winter 2017 Residency is Midnight Mountain Time on Sunday July 30, 2017. Applicants will be notified no later than Sunday September 10, 2017.
APPLICATION GUIDELINES: You must submit your application through the CAFE website: https://www.callforentry.org/ Applications without work samples will not be considered (3 images for Visual Artists, 1 - 2 videos for Musicians, 5-page double-spaced writing sample for Writers, 10-page double-spaced sample for Playwrights, 5-page single-spaced sample for poets). Please familiarize yourself with CAFE which is a great website with many other artist listings and opportunities (see specifications below for more details). We do not accept email entries.
ONE-MONTH RESIDENCY APPLICATION FEE AND DISCOUNT: The application fee for the competitive one-month residency is $39.00. Take advantage of our 20% Early Bird Discount for applications received before June 25, 2017. Artists who are re-applying for one-month qualify for a $9 discount using our Coupon Codes. Only one discount will apply. You can download more information about Fees and Discounts from our website: http://360xochiquetzal.com/discounts/
APPLICATION SPECIFICATIONS: You may download more information about how to apply a Discount Code, How to Check Out and file specifications for video and writing submissions on our website: http://360xochiquetzal.com/how-to-apply/
*RESIDENCY AWARD: Winners of the competitive residency receive a free live/work space for one-month. Two writing residents will reside in the main residency house, which is in a hacienda style home with individual bedrooms/work spaces and shared living/dining room space. We have several live/work spaces a few doors away that each have a private kitchen, living room, bedroom and full bathroom and are geared towards musicians and visual artists.
Your residency also includes free wi-fi, all utilities, laundry on the premises, weekly maid service and a 27-page Residency Handbook.
Our new Guest Chef Program: Winter 2017 residents will be able to eat communally five evenings a week at the main residency house and enjoy gourmet meals (and leftovers!) prepared by our Resident Culinary Artist, who will consider your special dietary restrictions. If you know someone who would like to apply for this position, have them write to us at 360xochiquetzal@gmail.com
COSTS: You are responsible for your travel to and from Mexico. It is easy and safe to take an airport taxi which will cost $400 pesos to Chapala. Download driving directions from our Facebook Page: 360 Xochi Quetzal (join us too!). You will also need to pay for your local transportation, entertainment and some additional food. International calls can be made via skype or by getting a local cell plan from IUSAcell (ATT affiliate). Food is inexpensive in Mexico, typically costing about $20/week US. Eating out is quite affordable with meals costing $3 - 10 US.
STUDIO SPACE AND EQUIPMENT: For both personal and competitive residencies, we provide work tables and wall space for visual artists, desks and free wi-fi for writers. There is a professional easel for painters. Our Lower Casita has a Cress sample kiln for ceramic artists, which can fire up to cone 6 and is suitable for small ceramic or metal clay pieces. There is a 33” floor loom in our Middle Casita for weavers.
NEW RENTAL PROGRAM (design your own residency): If our competitive residency dates do not work for your schedule or if you do not win this year, consider renting one of our live/work spaces for 1 - 6 months. You do not have to apply through CAFE, just check our website for descriptions and pictures of the spaces and available dates http://360xochiquetzal.com/personal-residency-overview/. This is a perfect opportunity to finish a manuscript, prepare for a show, collect your thoughts, plan your next body of work. Read of some of the interviews with creatives who have come to Chapala for a personal residency.
Email us at 360xochiquetzal@gmail.com and let us know what month(s) you want to come and we will start the reservation process. We take reservations on a first come first serve basis and we are usually booking 6 months in advance. Plan ahead if you want to come in the winter!
WHAT IS CHAPALA LIKE? In a word, charming. This is a small town with a population of 22,000. You will hear horses trotting along the cobblestone boulevard in the morning on their way to the stables. Cowboys ride by using their cell phones. Birdsong accompanies you throughout the day. In the winter, thousands of white pelicans entertain us on the lake. Trees blaze with psychedelic color year round. The mountains turn green during our four-month rainy season (June - Sept). Vendors pass by during the day hawking fresh strawberries, bottled water, and ice cream.Read more about Chapala on our website: http://360xochiquetzal.com/the-magic-of-lake-chapala/
FUN: All live/work spaces are walking distance to a park with a running track, pool, tennis courts and walking trails. We are also 5 minutes from the malecon, a park-like promenade that runs along the lake for a mile. The lake is surrounded by hundreds of mountains and you will enjoy spectacular sunsets almost every night. The weather is sunny 300 days a year with average daytime temperatures in the 70s. Other nearby activities include hiking, dancing and thermal springs.
COMMUNITY: Chapala and nearby Ajijic have dozens of cafes, galleries, cultural centers, art openings, and hundreds of artists to connect or study with. Everything you need is within walking distance and our bus service is frequent and inexpensive. This is a safe place to live, work and the residency houses are secure.
MISC: Although speaking a little Spanish will make your time here more culturally integrated, you do not need to speak the language to get what you need. You are just a 5 minute walk from many stores, restaurants and buses.
HOUSE RULES: Competitive residents may be able to invite your spouse/significant other depending on our accommodations; check with us before making plans. If there is space, we charge a $200/month surcharge per guest prorated for the length of their visit. Your children and pets are not permitted (there are many bed and breakfast hotels nearby for visitors). Smoking, drugs and firearms are expressly prohibited.
NON-DISCRIMINATION: 360 Xochi Quetzal encourages applications from artists of all backgrounds and does not discriminate on the basis of age, race, national origin, religion, creed, sex, sexual orientation, HIV status, marital status, disability, or veteran status.
Please join our mailing list at the top of our webpage: www.360xochiquetzal.com
For more information, write to us at 360xochiquetzal@gmail.com
Join/Like us on our Facebook Group Page: 360 Xochi Quetzal
Follow us on Twitter: @360XochiQuetza360 XOCHI QUETZAL: Free Artist Residency in Central Mexico.
Web Site:www.callforentry.org/festivals_unique_info.php?ID=4110

 CCRMA SUMMER WORKSHOPS 2017
Summary:Multiple Workshops
Deadline: None
Date Posted: 14 February 2017
Details: 6/19 - 6/23 Mobile Synth I - Mobile App Development for Sound Synthesis and Processing in Faust: Romain Michon
6/19 - 6/23 Virtual Analog Models of Audio Circuitry: François Germain, Kurt Werner
6/26 - 6/30 Mobile Synth II - 3D Printing and Musical Interface Design for Smartphone Augmentation: Romain Michon and John Granzow
6/26 - 6/30 Programming Max/MSP: Structuring Interactive Software for Digital Arts: Matthew Wright, Christopher Jette
7/3 - 7/7 Algorithmic Composition with Max/MSP and Open Music: Andrew Watts, Davor Vincze
7/10 - 7/14 Electronic Arts Ensemble: Constantin Basica, Alex Chechile
7/17 - 7/21 TO BE SCHEDULED
7/24 - 7/28 Music Information Retrieval: Steve Tjoa and Jeff Scott, Gracenote
7/31 - 8/4 Deep Learning for Music Information Retrieval: Irán Román
8/7 - 8/11 Formalized Score Control: Using Python and Abjad in Music Composition: Jeff Treviño, Trevor Bača and Josiah Wolf Oberholtzer
8/13 - 8/17 SuperCollider: Fernando Lopez-Lezcano and Bruno Ruviaro
8/21 - 8/25 Designing Musical Games: Gaming Musical Design: Rob Hamilton and Chris Platz
TO BE SCHEDULED: Perceptual Audio Coding: Marina Bosi, Richard Goldberg


GENERAL INFORMATION
The Center for Computer Research in Music and Acoustics offers intensive programs where top educators and researchers from the fields of music, engineering, and computer science will present a detailed study of specialized subjects. Each workshop is one week long. The workshops are open to the public. Most workshops are 9-5pm with an hour for lunch on your own, but check each workshop page for specific schedule information.

IMPORTANT NOTE
All workshops are subject to change or cancellation based on low enrollment. Any workshop with low enrollment will be cancelled at least 3 weeks before start date of workshop.

TUITION AND FEES
Most workshops are $450 for the week, plus a $50 non-refundable registration fee, however, tuition can vary from workshop to workshop, and in many cases includes materials fees. Several workshops are now offering scholarships - please check the individual workshop pages for details.

ACADEMIC CREDIT
No academic credit is offered for participation in the workshops.

HOUSING
Housing costs are not included in the course fee. For housing options, please check SUPost.com and craigslist.

DIRECTIONS
Directions to the CCRMA Workshop held at the Knoll, 660 Lomita Drive, Stanford, CA can be found here: ccrma.stanford.edu/about/directions

PARKING
Parking costs are not included in the course fee. Parking information can be found at the Stanford Parking and Transportation website: https://transportation.stanford.edu/parking

CONTACT
Nette Worthey
CCRMA Administrator
660 Lomita Drive
Stanford University
Stanford, CA 94305-8180
650-723-4971 x320
networth@ccrma.stanford.edu

REGISTRATION
All workshops held at CCRMA require a $50 non-refundable registration fee.
Web Site:ccrma.stanford.edu/workshops

 The Claremont Chorale
Summary:Choir Competition
Deadline: 01 September 2017
Date Posted: 14 February 2017
Details: The Claremont Chorale, a volunteer, independent community chorus based in Claremont, California, will celebrate its 50th anniversary in the 2017-2018 season. As a part of a year-long celebration, the Chorale is sponsoring a choral composition competition. The winning composition will be performed by the Chorale in a Spring 2018 concert that will conclude the anniversary year.

Criteria:
Difficulty level: The winning composition must be at a technical level that makes its performance possible by a volunteer adult choir of 60 voices: SATB with occasional divisi, moderate vocal ranges and harmonic language. Due to the intention of performing the winning work, this criteria will be very important in the judging process.

Text: of the composer’s choosing, sacred or secular. The text should be in the Public Domain, of the composer’s own creation, or else be accompanied by documentation clearly confirming that the composer has secured permission to set it to music and to present it in public performance. [Any costs related to securing said permission are solely the responsibility of the composer.] Texts that somehow relate to themes of singing or the anniversary occasion are particularly encouraged. English is preferred, but pieces that use other languages will be considered.

Accompaniment: a cappella or with piano accompaniment Length: less than 10 minutes

Submission Process:
Submissions must be received by September 1, 2017

• Compositions need not be newly created for this competition; however all submissions must not have been previously performed in public.
• Electronic submissions (PDF) are strongly preferred, using the email address below. Scores submitted in hard copy will only be returned if they are accompanied by a self-addressed, stamped envelope.
• Scores must be clear and ready for duplication and performance, using one of the standard music printing programs (Sibelius, Finale, etc.).
• A completed copy of the form below must accompany each submission (see p. 3). Please remove all identifying marks from submitted scores as the judging will be conducted anonymously.
• The names of all participants will be held in confidence. No more than two compositions will be accepted from a single composer.

Evaluation: A panel comprised of two guest judges and the Chorale’s Music Director will review all submissions and select the winning composition. This evaluation will take into account the quality of the piece and its suitability for a successful performance by the Chorale. The winning piece and composer will be announced before December 31, 2017. The decision of the judging panel is final; the Claremont Chorale reserves the right to make no award.
Web Site:www.claremontchorale.org

 Arts Letters & Numbers
Summary:Residency Programme
Deadline: None
Date Posted: 14 February 2017
Details: Arts Letters & Numbers is a place of creative urgency and intensity of purpose, a place to create new linkages, new thought processes, new path- ways of understanding that embody our best hopes and aspirations. It is a place where many elements come together to co-construct questions and works, of empathy, of ethics, of imagination; it is a place to explore the nuanced fragilities in our shared stories.


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


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


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



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



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


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

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

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

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


We are looking forward to welcoming you to

Arts Letters & Numbers!
Web Site:www.artslettersandnumbers.com/programs/residency-1/

 RIX ANNELIE DE MAN 2018
Summary:Keyboard Competition
Deadline: 01 January 2018
Date Posted: 08 February 2017
Details: Rules for Composers

Application deadline: 01 January 2018

There is no age limit and no entrance fee. The competition is for composers from all nationalities.
In the composition the harpsichord should have the principal role. The duration should not exceed 10 minutes.

Prizes

1st prize composers competition: € 2500 2nd prize composers competition: € 1000
Black Pencil prize: t.b.a.
Audience prize: t.b.a.

Additional prizes will be considered

Setting

Harpsichord in chamber music settings is the preferred instrumentation. However, solo harpsichord pieces will be also considered.

We encourage the combination of harpsichord with the instruments available in the Orgelpark, please see: www.orgelpark.nl.

We encourage composers to use the instruments of the Black Pencil ensemble for their harpsichord compositions: recorder (blockflute), panflute, viola, accordion and percussion. Please see www.instrumentalways.com

The harpsichord may be combined with other instruments, electronics, video and/or theatrical elements. The Annelie de Man Foundation will guarantee a live performance with an ensemble not exceeding more than 6 musicians (harpsichordist included).

Black Pencil – Ensemble in Residence

Black Pencil will be ensemble in residence in the 2018 edition of the Prix. It means that you can count on the expertise of the virtuoso members of Black Pencil for writing new compositions, making use of the instrumentation of the ensemble.

Jorge Isaac – Recorder (blockflute), Artistic Director Matthijs Koene – Panflute
Esra Pehlivanli – Viola
Marko Kassl – Accordion
Enric Monfort – Percussion
Please check www.BlackPencil.org
The Black Pencil Prize will be awarded to new compositions making use of the full instrumentation of the ensemble together with harpsichord.

Application

Candidates should supply:
- A biography (in English) and recent photo of the composer
- The score of the piece, together with the necessary performance instructions - If possible a recording (aiff, wav or mp3 format), or a video file from a live performance. Midi is also accepted
- Use your real name (pseudonym is not needed)
- A composer can submit more than one composition

Please send your entry to: prix@admf.nl. Your entry must be both in: - Pdf
- Mp3

Jury

Guus Janssen (http://www.guusjanssen.com) Wim Hendrickx (http://www.wimhenderickx.com) Roderik de Man (http://www.roderikdeman.com) and an organist to be selected by the Orgelpark

The jury will choose 3 works to be performed from which the winning composition will be selected. We reserve the right to make necessary changes.

Please understand that the PRIX receives many applications. Send the information about the compositions as clearly as possible. Thank you!
Web Site:www.admf.nl/NL/competition.html

 RPS COMMISSIONS
Summary:Multiple Opportunities
Deadline: None
Date Posted: 08 February 2017
Details: From Beethoven to Carter, forging relationships with composers and commissioning new music has been at the heart of the Royal Philharmonic Society’s work since 1813.

We believe that encouraging creativity is an essential part of live music making. Since 1813 our commissions have included masterworks such as Beethoven’s 9th Symphony, Mendelssohn’s Italian Symphony and Dvorak’s 7th Symphony. Today we continue to thrill and challenge audiences with the new and have commissioned over 60 composers in the last 10 years.

Our current commissioning programme includes:

Chamber Music

An ongoing partnership with BBC Radio 3 has created a series of over 30 new chamber works for the outstanding talents of the BBC New Generation Artists.

RPS Composition Prizes

The RPS offers pportunities for emerging composers and composers age 18 and under to take part in workshops and to write for high profile professional performances, while the Elgar Bursary recognises that older composers may also benefit from support to write an orchestral work with a guaranteed performance and broadcast.

RPS Drummond Fund

Commissioning new music for dance.

RPS Bicentenary Commissions

Over 20 new commissions were at the heart of our Bicentenary celebrations in 2013, from major international figures to those just entering the profession. Read about our Bicentenary Commissions.

For more information:
Web Site:royalphilharmonicsociety.org.uk/composers/commissions

 2017 Wilmslow Parish Church Organ Composition Contest
Summary:Organ Composition Competition
Deadline: 31 July 2017
Date Posted: 08 February 2017
Details: St Bartholomew’s Church, Wilmslow, Cheshire, UK announces a special Organ Composition Contest for composers of all ages and nationalities to celebrate the renewal and augmentation of the organ (affectionately known as Oscar) by York Pipe Organs. The winner of the contest will win a prize of £150, with prizes of £100 for second place and £50 for third. The 3 winners will have their pieces performed at the Festival Dedication Service on Advent Sunday 2017. In addition the 3 winning pieces will be published in a book called “Oscar’s Organ Book” by the online music publishing firm www.fagus-music.com.

All submissions must be received via email (philip@philipunderwood.co.uk) or postal mail (28 Bracadale Drive, Davenport, Stockport, SK3 8RS, UK) by 11:59 pm on 31st July 2017.

Competition Guidelines
1. The contest is open to composers of any age or nationality in any style of music.
2. The piece, for solo organ of 3 manuals and pedals, must be unpublished, never performed, 5-8 minutes in length and of approximately grade 7 standard.
3. The piece must be appropriate for performance in a celebration concert, however a religious theme is not necessary.
4. Submissions will be accepted in one of the following forms: Sibelius 4, Midi file, PDF file or original manuscript. Manuscripts will not be returned.
5. All submissions will be reviewed without prejudice to style, content or form.
6. Composers must submit a short biography.
7. All submissions must be received via postal mail or email by 11:59pm on 31st July 2017.
8. The winner of the contest will win a prize of £150, with prizes of £100 for second place and £50 for third. The 3 winners will have their pieces featured in the Festival Dedication Service on Advent Sunday 2017 (3rd December). In addition the 3 winning pieces will be published in a book called “Oscar’s Organ Book” by the online music publishing firm www.fagus-music.com.,these prizes are all inclusive and no other expenses shall be paid to the composers.
9.The church reserves the right to host the world premiere of the pieces.
10.The results will be posted on the church website on 1st September 2017.
Web Site:www.wilmslowparish.co.uk

 An Opportunity for New Music
Summary:Performance Opportunity
Deadline: 01 January 2018
Date Posted: 10 January 2017
Details: This year I am starting a new project geared toward promoting new repertoire for trumpet. My plan is to produce a video of one brand new piece for trumpet and piano each month, making digital downloads of the sheet music available for sale through my website as each video is released. What I'm looking for is classical works for trumpet and piano. These can be any length, any style, any difficulty level, whatever inspires you most, but I'm looking specifically for works that have never been performed or recorded before!

I have the first 3 months worth of pieces chosen already but if I'm going to be able to carry this on in the future obviously I will need many more pieces!

Submitting a piece does not guarantee that I will select it for performance, but if I do select your piece I will let you know which month the video will be premiering and 50% of any sales of the music will go to you!

Thanks for considering being a part of this. I know this is a lofty goal but I'm really looking forward to this project and hopefully with your help it will work to bring more attention to new music and create a broad library of new repertoire for the trumpet over the coming years!

If you have questions or would like to submit a work you can reach me at newtrumpetmusic@gmail.com

Thanks!
Web Site:www.michaelbrest.com/composers
Email:newtrumpetmusic@gmail.com

 Kimmel Harding Nelson Center for the Arts
Summary:Residency Opportunity
Deadline: 01 September 2017
Date Posted: 10 January 2017
Details: Next Residency Deadline March 1, 2017
The Kimmel Harding Nelson Center for the Arts, located in Nebraska City, NE offers from fifty to sixty juried residencies per year to visual artists, writers, composers, and interdisciplinary artists from across the country and around the world.

The Center accommodates up to five artists at a time for stays that vary from two to eight weeks. Each resident is provided with private bedroom, private bathroom, their own studio space, fully equipped kitchen and a weekly $100 stipend for the duration of their stay.

All residents are selected by a discipline-specific panel of professionals with decisions based on the quality of the proposal and the support materials submitted. Nebraska artists and those transitioning from graduate school receive special consideration.

Two application deadlines per year. September 1 and March 1.
Applicants are required to apply online through our Slideroom portal: https://khncenterforthearts.slideroom.com/#/Login

A non-refundable application fee of $35 applies.

For more info visit http://www.khncenterforthearts.org or call 402-874-9600, email info{at}khncenterforthearts{dot}org

The Center offers a letterpress studio with a Vandercook Sp15 press and a standard proof press. The Harry Duncan Letterpress Studio also features a variety of furniture and fonts, an inventory of tools and inks, as well as a boxcar base for resident use.
Web Site:www.khncenterforthearts.org/

 THE OPEN FUND FOR MUSIC CREATORS
Summary:Funding Opportunity
Deadline: 02 October 2017
Date Posted: 04 January 2017
Details: The Open Fund for Music Creators supports the development of outstanding songwriters and composers of all genres and backgrounds at different stages of their career.

The fund can support projects by songwriters, composers, or artists, bands, producers and performers who are writing their own music or commissioning others.

Music Creators’ projects must fulfill all three of our funding priorities:

1. To support the creation, performance and promotion of outstanding new music in any genre
We are particularly interested in the quality of the music

2. To enable the UK’s most talented music creators to realise their potential
We are interested in how your project will develop the songwriters and composers involved.

If you are a songwriter/composer you will need to tell us why this particular activity is so crucial to your creative or professional development.

If you are a solo performer or small performance group commissioning others, you will need to explain why your project is so important to the songwriter or performer you are working with.

We are committed to supporting UK based songwriters and composers of all backgrounds.

3. To inspire audiences
You will be asked to outline who you are reaching and how. This includes audiences at a local, regional, national or international level

What is a music creator?

The following are considered by PRS for Music Foundation to be Music Creators:

songwriters,
composers, or
artists, bands, producers and performers who are writing their own music or commissioning other songwriters or composers
Please see our Frequently Asked Questions page for information on Music Creators we consider eligible and ineligible, including advice on restrictions around financial set-up.

The Open Fund supports Music Creators of all genres and backgrounds and at different stages of their career.

Through The Open Fund, we support high quality new music projects and therefore cannot support core organisational costs, salary costs or living costs.

Click here to see the full list of other PRS for Music Foundation opportunities for organisations and music creators.

How much can Music Creators apply for?

The Open Fund for Music Creators offers grants of up to £5,000.

Our funding includes support of:

• touring
• music creator residencies
• promotion and marketing
• commissions of new music by UK-based creators*
• exciting community projects involving high-quality music creators
• recording
• live performances featuring new UK music

*We define ‘commission’ as a music creator or group engaged by a third party to create a new piece of music.

What can’t be covered by an Open Fund grant for Music Creators?

Through The Open Fund, we support high quality new music projects which have tangible musical outcomes and a clearly defined start and end date.

We cannot support core organisational costs, salary costs or living costs. We can fund administration costs relating to the project at a maximum of 10% of total budget.

See PRS for Music Foundation’s Open Fund Criteria for full details.

When are The Open Fund deadlines?

Deadlines occur three times per calendar year. (See link at bottom for more info).

When applying, keep in mind that we can only support activity happening after the decision date for your deadline – this will mean your activity must be at least 12 weeks after the deadline.

We will close the application forms for up to 12 weeks after each deadline for system upkeep.

We expect your project to take place within 1 year of receiving our grant.

Web Site:www.prsformusicfoundation.com/funding/the-open-fund/the-open-fund-for-music-creators/

 2017 Composition Competition of the Freiburg International Festival of Sacred Music
Summary:Competition inspired by art
Deadline: 15 October 2017
Date Posted: 21 December 2016
Details: The organizing committee of the "Festival International de Musiques Sacrées, Friborg" has organized a composition contest for spiritual music regularly since 1985. The aim of this competition is to promote new independent works inspired by sacred texts or themes.

The 13th edition of the competition is organized in collaboration with the Haute Ecole de Musique Vaud Valais Friborg (HEMU) and with Espace 2 - RTS (Radio Télévision Suisse) and is dedicated to an instrumental ensemble.

The competition participants and - participants have to be submitted by October 15, 2017 composed for an instrumental ensemble work. The submitted work is to be composed exclusively for the following instrumentation:

• 1 viola, 1 bassoon, 2 trombones (T + B), 2 timpani, 1 harp;
For an instrumental ensemble with 6 instrumentalists

The on composing instrumental piece is the painting - inspired by Sebastian Stoskopff (1597-1658), which (Switzerland) is exhibited at the Kunstmuseum Basel "Vanitas Still Life with Skull".
Web Site:www.fims-fribourg.ch/de/content/concours-de-composition-deutch

 International Showcase Fund
Summary:Funding Opportunity
Deadline: None
Date Posted: 23 November 2016
Details: The International Showcase Fund offers funding support to artists based in England and Scotland invited to play at international showcasing festivals and conferences. Grants of up to £5,000 help to cover the costs of travel, visas and accommodation.

The International Showcase Fund is a partnership between PRS for Music Foundation, UK Trade & Investment, British Underground, Arts Council England, the Musicians’ Union, PPL and Creative Scotland and in association with PledgeMusic.

As well as offering grant support, partners offer advice, guidance and workshops for some events. Associate partner, PledgeMusic provides bespoke advice to any applicant wanting to include Direct to Fan income as part of their showcase budget, as well as ongoing support for ISF grantees.

What is Music Export?

So, you or your band is well on the way to breaking in the UK. You’ve had some success with your releases, toured the country, and are now eyeing territories beyond our shores to develop your career. In short, you are ready to export your music.

The UK is one of the biggest exporters of new music in the world. Every year our finest emerging talent is invited to key music industry-focused festivals and showcasing events to perform to interested international labels, promoters, agents and publishers.

Although it is crucial for an act to attract and secure deals in territories outside of the UK, these initial forays overseas can be expensive. The International Showcase Fund exists to help cover the costs of these trips, enabling artists to connect with and showcase to their potential next label, promoter or music supervisor.

Which showcase festivals are covered by the fund?

The kinds of events and festivals that are covered by the funding are those that have a mostly music industry audience or delegation. The fund can not support artists to play at festivals for the general public.

Examples of showcase festivals:

SXSW in Austin, USA
Tallinn Music Week, Tallinn, Estonia
JazzAhead, Bremen, Germany
CMJ in New York, USA
Folk Alliance International, Kansas City, USA
Eurosonic, Groningen, The Netherlands
Americana Music Association Festival, Nashville, USA
NXNE, Toronto, Canada
A3C Hip Hop Festival, Atlanta, USA
WOMEX
Iceland Airwaves, Reykjavik, Iceland
Classical Next, Vienna, Austria
Midem, Cannes, France
Rochester Jazz Festival, New York, USA

There are over 50 eligible events each year. Click here for a fuller list. If you have been invited to play an event and are unsure of its suitability, please email bhavesh@prsformusicfoundation.com.

Am I eligible for support from the International Showcase Fund?

Are you a band/artist based in England or Scotland?
Do you write and perform your own music, that is exceptional?
Have you been invited to play at an international event, with a conference element, that is geared towards music industry professionals rather than the general public?
Have you got a good profile in the UK (i.e. been featured in the national press/had airplay on national radio/and indie release)?
Do you have a list of meetings with music industry executives (i.e. publishers, labels, agencies, etc.) confirmed for when you are at your chosen showcase?
Do you have a strong business case for attending this specific showcase (i.e. are you building upon prior success there, or following up on significant buzz surrounding your band in that particular country)?
If you answer yes to all of the questions below then you are eligible to apply.

If any of the above doesn’t apply to you, you could still be eligible to apply to one of our other funding options.

Eligible Showcases

There are over 50 eligible events each year. Below is a list of eligible events. We highly recommend the Explore International Music Showcasing Toolkit – an invaluable resource for those considering international events.

If you have been invited to play an event and are unsure of its suitability, please email bhavesh@prsformusicfoundation.com.

Web Site:www.prsformusicfoundation.com/funding/international-showcase-fund/about-isf/

 Call for Works – Electroacoustic
Summary:Electroacoustic Call
Deadline: None
Date Posted: 23 November 2016
Details: How to submit

Elektramusic is always looking for new electroacoustic musics for the Radioshow, concerts, CD compilation, and for music+videos for the TV show and for video live performances, festival and much more. You can submit you electroacoustic music works, and-or your electroacoustic music and video art work as follows :

Musics : on Audio-CD (cd tracks) or Data-CD (with audio files : SDII, Wave, AIFF,…). Multiphonic works must be submitted in stereophonic version.

VideoArt and music : on DVD-DATA (high quality QuickTime or DV file), Video-DVD-vidéo, or mini-DV tape.

Please join to your submission a biography and work notice. For video works, please also include producer or video artist biography. Please print and fill in the submission form to complete your submission.

Submission by postal mail : Please send all your material by snail mail (please no registered mail) to : Elektramusic – 10 rue du Hohwald – 67000 Strasbourg France

Submission by web : You can send by web your audio/video files, with the submission form (filled and scanned), your bio and notice as pdf to our email (elektra at elektramusic.com) by using a file transfer service or cloud such as Dropbox or WeTransfer.

http://www.elektramusic.fr/call-for-works/
Web Site:www.elektramusic.fr/call-for-works/

 Soundfly's new online course with Tim Hansen teaches you the fundamentals of Composition
Summary:Composition Course
Deadline: None
Date Posted: 16 November 2016
Details: SOUNDFLY'S NEW COURSE TEACHES YOU THE FUNDAMENTALS OF MUSIC COMPOSITION & DEEPENS YOUR UNDERSTANDING OF EMPLOYING THEORYhttps://soundfly.com/courses/introduction-to-the-composers-craftUse code: SOUNDANDMUSIC for 20% off!As a composer, there are many different tools in your tool belt that can bring interest and originality to your music. You can use time signatures to add complexity, tonality to add emotional pull, rhythm to add drive, or something else to create some other unique dynamic. This course will take you through the essential elements of modern composing. Led by Australian composer Tim Hansen, you'll explore the beat, time signatures, rhythm, tonality, timbre, texture, and structure, with key examples to demonstrate along the way. By the end of this course, you'll be able to employee these tools more effectively in your compositions.This one-of-a-kind month-long course combines fun instructional videos, step-by-step guides, downloadable resources, and professional support and feedback to help you unlock your vision for notated music. You'll have the opportunity to get personal mentorship and consulting from an industry expert, as well as access to a revolving-door community of fellow students and advisors. Now who's ready to get composing?
Web Site:soundfly.com/courses/introduction-to-the-composers-craft

 New York Composers Circle
Summary:Call wth no deadline
Deadline: None
Date Posted: 12 October 2016
Details: New York Composers Circle’s Monthly Salon Call for New Works No Deadline, No Fee

Invitation to NYCC Salons

The New York Composers Circle (NYCC) invites composers in the New York metropolitan area to its monthly salons to audition either completed works or works-in-progress for constructive commentary and attentive listening. This opportunity to share your works and commingle with your peers is especially valuable for composers recently out of school, working outside the music field and those simply hungry for a fresh perspective given in a warm, welcoming environment.

Guests are invited to bring their works, complete or not, to monthly salons. However, space and time are limited, so only those first five respondents who can arrange either a live performance or provide a recording (live performance preferable though a “good” MIDI realization is acceptable) and score (traditional, graphic, etc.) will be invited to one of the monthly salons. If invited, prepare a few introductory remarks and short commentary about your work to the assembled gathering. The remarks need only to be a quick summation of the impetus for the work or a short summary of its technical aspects. Guests who have presented at salons may be invited to join NYCC and have their works performed at one of its concerts.

Duration of presented works should not exceed 15 minutes and commentary on your work no longer than 5 minutes. We welcome printed handouts if you wish to share more about your work process and inspiration which members and guests can read at their leisure.

About Us
NYCC is a New York City composers’ collective founded in 2002 with over 60 members consisting of composers and performers. Members come from many walks of life and share a passion and deep knowledge about the complex process of composing a work and having it performed publicly. All are devoted to the core mission of promoting public awareness and appreciation of contemporary music through concerts, salons, and other events in the New York metropolitan area. As part of its fulfillment of this mission, the collective produces four concerts every year featuring its members' chamber works at such venues as Symphony Space, St. Peter’s Church and Leonard Nimoy Thalia Theater.

Submission Information
If you are interested, please write to Hubert Howe at the email
listed below with a description of the piece you will be bringing - its
title, instrumentation, duration, and the particulars of its
performance, and include some information about your musical background.

For general information about the New York Composers Circle, please
visit the website below.
NYComposersCircle
Contact: Hubert Howe
Email: Hubert.Howe@qc.cuny.edu
Web Site:newyorkcomposerscircle.org

 CNM call for scores: harpsichord duets
Summary:Keyboard duet competition
Deadline: 01 December 2017
Date Posted: 12 October 2016
Details: Colchester New Music is pleased to announce a call for scores for harpsichord duet, to be performed by the Knights-Tidhar harpsichord duo in Colchester in Spring 2018. All works submitted must be original, and not exceeding 7 minutes in length. There are no stylistic limitations.

Francis Knights and Dan Tidhar (http://harpsichordduo.webnode.com/) are the world’s busiest early keyboard duo, giving many performances each year of repertoire which ranges from the Renaissance to the present day. They are actively seeking to expand the small contemporary repertoire for two harpsichords.

For the harpsichords, assume one double-manual instrument of FF-f3 compass with 2 x 8′, 1 x 4’ stops, and one single-manual instrument of GG-d3, 2 x 8′; they will match in tone and volume. Many recordings of modern harpsichord styles can be found on YouTube, and http://www.christopherlewis.net is also worth a visit. For technical queries, please contact calls@colchesternewmusic.com.

Submissions will be judged anonymously by the performers and an external judge; scores must be submitted in pdf format, and the composer’s name must not appear anywhere on the score. All submissions must be accompanied by a completed application form.

Composers may submit up to three pieces – Entry fee is £3 for one, £5 for two or £7 for three pieces, or free for CNM members, students and under 25s (note: proof of age/studentship will be required).

Scores and application forms should be e-mailed to calls@colchesternewmusic.com by 1st December 2017. Links to the downloadable application form and payment details are below:
Web Site:colchesternewmusic.com/calls-for-scores/call-for-scores-harpsichord-duets/

 Andrew S. Way Music Foundation
Summary:Funding Opportunity
Deadline: None
Date Posted: 31 August 2016
Details: The Andrew S. Way Music Foundation is committed to the composition, education, and performance of new music. The process by which this is achieved has two major components: first the grant selects composers to write new music (for a school or organization), then music educators apply for the opportunity to perform the music with their ensembles in live concert. When the two are matched, the foundation will also help facilitate and encourage communication between the composer, the educator, and the ensemble. Currently accepting all applicants from the Bay Area.

The Andrew S. Way Foundation welcomes composer and school/organization applicants from all walks of life and musical paths, and is dedicated to supporting all types of music.
Web Site:aswaymusicfoundation.org/application/

 New Music Message Board
Summary:Opportunity to connect with performers
Deadline: None
Date Posted: 31 August 2016
Details: This is a new group dedicated to connecting composers of new works with performers of new music. Composers can post whatever they feel comfortable. Performers can search for the desired instrumentation with the search tool, and hopefully curate some performances. Please don't hesitate to post as many works as you would like.

The group is in the formative stages, and will hopefully grow from a Facebook group to a professional website and online community. So, please share the group with anyone who may be interested from anywhere in the world!!
Aaron
Web Site:www.facebook.com/groups/939142276213069/

 Resonance Extra
Summary:Broadcast Call
Deadline: 31 August 2017
Date Posted: 25 August 2016
Details: Resonance Extra is a 24/7 broadcast platform based at Resonance FM’s London Bridge studios. Dedicated to supporting experimental musicians and sound artists, the station broadcasts online via its website and on Small Scale DAB Digital Radio in Brighton & Hove. Following Ofcom’s decision in 2016 to extend its DAB trial license by a further two years, the platform seeks new contributions with an Open Call for Broadcast Proposals.

Radio Art, Experimental Music and Documentary

Resonance Extra seeks local and international artists, broadcasters, students, sound artists, musicians, producers, archivists, festivals, venues and arts organisations to submit proposals for ambitious broadcasts (or programmes of broadcasts) in the following broad categories:

• Sound and Radio Artworks
• Experimental and Global Music Radio
• Documentary - Sound and Music

Submit a Broadcast Proposal

To submit a proposal or programming idea, please email Peter Lanceley on extra@resonancefm.com, including in your submission: your full name (in the subject line); a brief description of what you propose (no more than 250 words); a link to your website, artistic CV, or previous work.

Responses to the Open Call will be considered on an ongoing basis until September 2017. We regret that we cannot necessarily respond to nor commit to providing feedback for unsuccessful applicants. For more information on Strands, a separate round of paid artistic commissions for UK sound and radio artists under the age of 28, supported by the Jerwood Charitable Foundation, visit our Commissions webpage.
Web Site:extra.resonance.fm

 BBC Introducing
Summary:Showcase Opportunity
Deadline: None
Date Posted: 12 April 2016
Details: Whether you’re a performer or composer writing music under any classical style BBC Introducing is a fantastic platform to get involved with. Introducing has been supporting unsigned, undiscovered and under the radar since 2007, giving new UK artists a chance to get their music out to new fans. To date the Uploader has had from over 150,000 artists and have seen many of them go on to achieve fantastic milestones in their career from recording a session at Maida Vale to headlining Glastonbury!With BBC Introducing the process is simple; you go to www.bbc.co.uk/introducing and share your music via the BBC Introducing Uploader. A team of presenters and producers here at Radio 3 will then listen to your music and choose a selection of the best compositions and performances to play on the station.From performing at a BBC showcase to being approached by other composers and writers, there are lots of opportunities that could you could send your music to us via the BBC Uploader and, in some cases, be played on the radio just hours later. If you’re an emerging musician and looking for new opportunities then head over to the bbc.co.uk/introducing for opportunities on Radio 3 and beyond.
Web Site:www.bbc.co.uk/programmes/p010j8y5

 Sorodha Composition Competition 2016: String quartet
Summary:String Quartet Call
Deadline: None
Date Posted: 04 November 2015
Details: Sorodha is proud to announce the fifth edition of its annual composition competition.

For this festive edition, we welcome compositions for string quartet and have the utmost pleasure to be able to work with the Tana String Quartet on this occasion. Their leader, Antoine Maisonhaute, was one of our judges last year, and this year they all join us as performers.

The submission deadline is Monday 29th of February 2016, and the entry fee is € 10,00.

The jury will select five works, which will be executed at a public concert on Saturday 23rd of April 2016 by the Tana String Quartet, after which the jury will award two prizes (€ 1,000.00 and € 500.00).

The winning piece will be performed by the Tana String Quartet at the Académie du Festival d'Aix-en-Provence on the 20th of July, 2016 (details forthcoming).

Please keep following checklist in mind before sending us your score:
• is your work written for string quartet (2 violins, viola, cello; no electronics, either)?
• was it originally written for string quartet?
• has is not been performed, broadcasted or prized in another competition before?
• is your score anonymous?
• will we be able to tell it apart from the others based on the title only? Ok, then; otherwise please add a motto, code or other distinctive sign.
• is it formatted as PDF file and A4 pages?
• does your second PDF file contain all the necessary data?
• has the entry fee been paid by PayPal (an extra € 1 will be charged to cover the transfer costs)?
• have you checked the time zone if filing on the last day before the deadline from elsewhere than Western Europe?

Please take notice of the fact that we cannot accept submissions by regular mail, only by email!


Web Site:http://www.sorodha.be/EN/contest.php

 DALLAS SONGWRITERS ASSOCIATION SONG CONTEST
Summary:Song Writing
Deadline: None
Date Posted: 27 August 2015
Details: How can I enter?

It’s easy! You can enter online at any of these sponsoring sites: Broadjam or on the DSA website or download an entry form here and print out, and mail your entries to:

Dallas Songwriters Association (DSA)
2011 Song Contest Director
Sammons Center for the Arts
3630 Harry Hines Boulevard #20
Dallas, TX 75219

How much is the entry fee?

$25 each entry. Please note EACH entry must have an accompanying form sheet. If you are a member of DSA or plan to join, you can get a $5 discount off your membership or renewal for each song contest entry. To join DSA or renew your membership, go to dallassongwriters.org. We’d love to have you as a member!

Who owns the songs I enter?

You do! You retain all rights.

What has to be on the lyric sheet?

The song Title and Category appear at the top of the sheet. Your lyrics, marked with “Verse” “Chorus” etc., follow the Title. For a sample, click here. Do not write your name on the lyric sheet or on the outside of the CD case -- simply fold your lyric sheet white-side out (so that the back side shows) and legibly write the song Title and Category on the back of the lyric sheet, and place it inside the CD case so that the song Title and Category show through the CD case.

If I don’t write my name on my lyric sheet, how do you know which one is mine?

Song Contest staff keeps track of which name goes with which song – all names are withheld from the judges so that the judges can select the winners with the highest level of fairness possible. Once the judges select the semifinalists and winners, the song contest staff reveals the names of the winning artists.
Web Site:http://faqdsasongcontest.blogspot.co.uk

 CALL FOR SCORES 2015 – Cello and Contrabass
Summary:Electroacoustic Call
Deadline: None
Date Posted: 20 May 2015
Details: 1. Call for Narrator/Speaker/Vocalist/Actor plus Electronic Music Scores (performer and "tape")

2. Call for "tape" pieces that have explicit political meaning

Narrator/Speaker/Vocalist/Actor plus Electronic Music Scores (performer and "tape")

Composer/performer Rodney Waschka II is looking for works for narrator or actor or speaker and electronic music fixed on two channels. Works will be considered for performance on the Arts NOW Series and elsewhere. You can read a review (http://www.cvnc.org/reviews/2009/022009/ArtsNow.html) by the Classical Voice of North Carolina of a concert of this type of music performed in February, 2009. Waschka has performed works by Alden Jenks, Pertti Jalava, Mansoor Hosseini, Stephen Pope, Allen Strange, Pauline Oliveros, Mara Helmuth, and others.

If you have composed such a piece or are interested in composing such a work, please contract me.

"Tape" pieces that have explicit political meaning

Pieces of this type are needed for programming for the Arts NOW Series.

Please contact me if you have a piece that you think might be appropriate.

Thanks.
Web Site:http://www.waschka.info/call_for_scores.html

 Sarasota Opera Request For Submission of New Youth Works
Summary:Opera for Young People
Deadline: None
Date Posted: 15 April 2015
Details: Sarasota Opera is pleased to invite composers to submit works for a new opera for possible production in November 2017 by Sarasota Youth Opera, one of the most comprehensive programs in the United States.

This invitation is open to any living composer or librettist, of any age, who is a United States citizen.

The submission deadline is Wednesday, September 30, 2015, at 5 pm.

Click HERE to download submission form

About Sarasota Youth Opera:

Since 1984, Sarasota Youth Opera (SYO) has given young people age 8 to 18 an opportunity to experience the magic of opera through participation in after-school choruses, Sarasota Opera mainstage productions, summer workshops, and the Youth Opera's own full-scale productions.

Regarded as a leader in the commissioning and producing of works for young voices, SYO is the only program in the United States committed to presenting annual, full-scale opera productions for young voices with professional musicians, direction, and costume and scenic design.

Since 1986, five commissioned world premieres and over 20 additional youth opera productions have been presented. Past commissions include:

2012 Little Nemo in Slumberland (music by Daron Hagen, libretto by J.D. McClatchy)
2004 The Language of Birds (music by John Kennedy, libretto by Peter Krask)
1998 Eye of Ra (music by Tom Suta, libretto by Diana Colson)
1993 Her Lightness (music and libretto by Polly Pen)
1989 Deadline

Our most recent commission, Little Nemo in Slumberland, featured over 106 young people and used a ground-breaking projection technology called SCRIBE (Self-Contained Rapidly Integratable Background Environment) to bring Winsor McCay’s comic strips to life. Since it’s 2012 premiere, Little Nemo in Slumberland has been performed by The University of Kentucky Opera Theatre, Tulsa Youth Opera, La Sierra University, and Pittsburgh High School for the Performing Arts.

In November 2014, SYO presented Dean Burry’s The Hobbit. Based on the writings of J.R.R. Tolkien, this classic adventure was brought to life with a cast of over 95 young people and 12 professional musicians on the stage of the Sarasota Opera House.

Both Little Nemo in Slumberland and The Hobbit performed to sold-out audiences.

Basics:

-English Libretto
-60 minutes of playing time. One Intermission optional.
-10 to 15 solo youth roles in treble voice
-Optional 1 to 3 adult players. Adults may portray more than one character.
-SSAB youth chorus ensemble that is featured predominately throughout the work
-Chamber orchestration of no more than 13 instruments, may include piano
-Roles with specific physical requirements are best avoided
-Entirely sung (minimal spoken narration or dialog optional)

Aesthetics:

"Sarasota Opera is dedicated to performing classic works of opera in a manner that is true to the composer’s intentions. In the years that we have been doing productions with our Youth Opera, I have found there are few works of substantial musical value for young people to perform. In our desire to increase the repertoire we are looking for music that is rooted in the classic music style, reflecting how that music is written today without the influence of other genres such musical theater, jazz or other popular idioms.

"The Youth Opera was begun as a way to get young people interested in art music. The works we are looking for should help achieve that goal and be musically sophisticated enough to appeal to adults while still accessible to children."

--Maestro Victor DeRenzi
Artistic Director, Sarasota Opera

Guidelines:

-Copyright clearance must obtained prior to entry
-Submissions must be unpublished works not currently accepted by a publisher for publication or rental
-Works may have been workshopped, but should not have received a premiere performance
-Works should show an awareness of the practical realities of rehearsal and performance
-Sarasota Opera will hold the rights for the premiere performances and one subsequent production

Submission:

-Piano-Vocal format
-Minimum 30% complete (approximately 20 minutes of music)
-Submission must include at least one (1) chorus ensemble number
-Each composer may submit up to three (3) works
-Manuscripts should be legible if hand-written

Submission should include:
-Submission Form
-Letter of Introduction
-Resume
-PDF of PV and Libretto
-Each score must have a title page containing characters, voice types, and brief synopsis for proposed work
-If submitted in hard copy, please include a self-addressed stamped envelope for return
-Inclusion of a recording of work-shopped scenes, full opera, or midi recording is optional

If no entry is deemed appropriate, the panel reserves the right to not make a selection and no fee will be awarded.

Submissions May Be Sent To:

Sarasota Opera
New Youth Works Submission
61 N. Pineapple Avenue
Sarasota, FL 34236

youthopera@sarasotaopera.org

Materials may be submitted electronically via this Dropbox link: Submit Materials.

If submitting electronically, please include “Composer Last Name, Composer First Name” at the beginning of each file name (eg: "Doe_Jane_Opera_Title").

Timeline:

September 2015 Submission Deadline
December 2015 Finalists Announced
May 2016 Finalists Submitted Completed PV
August 2016 Final Selection(s) Announced – Winner(s) Complete Orchestration
November 2017 Premiere Production

Fee:

Composer $15,000
Librettist $10,000
Composer/Librettist (wrote both) $20,000
Web Site:http://www.sarasotaopera.org/Request_for_Submission.aspx

 School of Music of Azusa Pacific University and J.W.Pepper Music
Summary:High School Competition
Deadline: None
Date Posted: 11 March 2015
Details: This High School Composition Contest is offered jointly by the School of Music of Azusa Pacific University and J.W.Pepper Music. It’s intent is to encourage the composition by high school students of high quality music that is accessible to reasonably well-developed high school music ensembles and performers. While this is the first year of the Contest, it is intended that it be an annual event.

The prizes for the winning composition in each category are:

1) $1000 cash

2) Public performance and recording by the appropriate Azusa Pacific University music ensemble.

3) Consideration for publication by J.W.Peppers publishing arm, Wingert-Jones Publications.

4) A complimentary subscription for J.W.Pepper’s My Score® self-publishing platform, valued at $99.

There are five categories of music being sought for the Contest. They are listed below, along with the length limitations for each category.

1) Orchestra 5 to 8 minutes

2) Choral 4 to 6 minutes

3) Wind Ensemble 5 to 8 minutes

4) Jazz Ensemble 5 to 8 minutes

5) Chamber 5 to 8 minutes

Plan to submit a properly notated score and demo recording. The winner in any category will be expected to provide clear, readable parts for the appropriate ensemble. Details are at the “How to Enter” tab above.

The choral composition may be accompanied or unaccompanied. It can be for mixed chorus, women’s choir, or men’s choir. Any accompaniment should be limited to piano and/or no more than two other common instruments.

The chamber composition may be for string quartet, string quintet, woodwind quintet, brass quintet, piano trio, piano quintet, guitar ensemble, guitar with bowed strings, or any common solo instrument. Other small groupings may be considered. If you would like to compose for a non-standard chamber group, it is suggested that you send email to musiccontest@apu.edu with a description of the ensemble to get approval of the ensemble for which you wish to compose.

Instrumentation for the other ensembles follows.

Orchestra:

Wind Ensemble:

Jazz Ensemble (big band):

Please see the “Contest Rules” tab above for further details, and the “How to Enter” tab for instructions about how to apply for the contest and submit your composition(s).

The contest is not yet “live.” It will be opened on April 1, 2015. After that time, questions not answered at the Contest Rules and How to Enter tabs may be directed to musiccontest@apu.edu.
Web Site:http://www.apumusiccontest.com/?page_id=32

 CALL FOR SCORES
Summary:Ongoing Chamber Call
Deadline: None
Date Posted: 04 December 2014
Details: rarescale has an ongoing call for scores and are interested in hearing from composers of all ages and nationalities. We are seeking quality chamber works for any combination of the following instruments:

flute/alto flute/bass flute (Kingma System)
oboe/cor anglais
clarinet/bass clarinet
bassoon
violin
viola
cello
piano
guitar
soprano
electronics

Please note that due to the high volume of works received we are unable to perform all the works sent to us, but we will keep details of all submissions in our database for future performance opportunities.

Please send scores and all performance materials as PDF or Sibelius 6 files to rarescalescores@gmail.com Recordings are preferable but not essential, and please bear in mind rarescale's charitable remit to promote the alto and bass flute.
Web Site:http://rarescale.org.uk/section468038.html

 Flexible Persona
Summary:Journal seeks compositions
Deadline: None
Date Posted: 13 August 2014
Details: The Flexible Persona, a literary journal, is looking for the work of minimalist composers for our audio issues. We would feature a 10–20 second clip of your work before the story is read and then a work up to five minutes in length at the end of the broadcast with credit to you and link to your website/work. For questions or to submit links to your work, please e-mail us at: theflexiblepersona@gmail.com. Please do not send audio attachments. http://www.theflexiblepersona.com

Web Site:www.theflexiblepersona.com
Email:theflexiblepersona@gmail.com

 Duo Scordatura "Call for Scores"
Summary:Violin and Viola Duet Call for Scores
Deadline: None
Date Posted: 28 May 2014
Details: Want to have your composition performed next year?....
Yeah you do!!!

Through out the the 2014-2015 season WE will be selecting and performing new works for the Duo of violin and viola.

1. There are no guidelines or fees!!
2. Your composition must be awesome. (very very important!!!)
3. You can use scordatura tuning (but not required...read rules #1 and #2)
4. Summit compositions to us through our email address icon at top right corner
4a. include a resume/bio
4b. include PDF of composition....score and individual parts
4c. recommended to also summit any recording or midi of the piece
4d. last but not least your contact info.

Web Site:http://www.duoscordatura.com/call-for-scores-2014-2015-season.html

 Wild Rumpus New Music Call
Summary:Chamber Music Call
Deadline: None
Date Posted: 22 May 2014
Details: Deadline: Rolling.

Wild Rumpus is happy to consider pieces by young/emerging composers that match our instrumentation (or a subset of it) for performance by the ensemble. Our instrumentation is:

flute
clarinet
trombone
piano
percussion
electric guitar
soprano
violin
cello
double bass

Eligibility
Composers who fall under at least ONE of the following categories are eligible to apply:

(a) Composers under 40
(b) Composers of any age who are not regularly commissioned by ensembles of national or international prominence

Application Materials
For each piece, submit:

Score (PDF)
Recording (MP3) — some exceptions possible; please see our FAQ.
A bio (suitable for printing in a concert program) and resume/CV
There is no fee to apply.

Please note that this call is rolling. We’ll select pieces from the general call as needed, depending both on our interest in the piece and the logistical demands of the concert for which we’re programming.

Web Site:http://wildrumpusmusic.org/general-call-for-scores/

 11th Joan Guinjoan International Prize for Young Composers
Summary:Prize for ensemble
Deadline: None
Date Posted: 31 October 2012
Details: 1.The contest is open to composers of every nationality under the age of 35 at December 1st, 2012. Former winners of this award are not allowed to submit again.
2.Each participant may submit an unlimited number of works, which cannot previously have been published, premiered or commissioned. Works performed in the educational context of conservatories and schools of music will not be considered premieres.
3.The work, in a contemporary style, should be 10 to 15 minutes long.
4.The work must be written for an open formation of 6 to 15 instruments, with optional electronics, chosen from among those in an orchestra, piano, accordion, guitar, voice and typical jazz –electric guitar, bass and keyboards– instruments, “cobla” instruments, and instruments of early music: harpsichord, recorder, viola da gamba, cornet, sackbut, early bassoon and plucked string instruments. It is also possible to include a small choir of four voices (SATB, 4-4-4-4), which will be considered as four different instruments. There may not be more than two instruments the same, except for violins, for which there is a maximum of 10, violas and cellos, for which there is a maximum of 4.
5.The composer must submit six copies of the score and one registration form for each work presented. The work must be written and printed with a notation software which allows automatic extraction of parts, or the participants must commit to send the parts in case of being winners. Once the winner has been chosen, the composers may collect 5 copies of their works within one month from date of the award. One copy will remain in the archives of the School.
6.The amount of the award is 3.000 €. The chosen work will be premiered by the Escola Superior de Música de Catalunya with the option to be professionally recorded on CD by the School.
7.Apart from the winning work, the jury may decide to give honorific mentions to other works submitted which are considered of special interest. The works worthy of this distinction will be premiered together with the winning work.
8.The Escola Superior de Música de Catalunya will have publishing and distribution rights to the score, the CD or any other format of the winning work.
9.All written or audio-recorded editions of the winning work will be marked “Premi Joan Guinjoan de l’Escola Superior de Música de Catalunya, 2012”.
10.The jury will be made up of five composers chosen from the Department of Theory and Composition of the School. The names of the members of the jury will be announced once the award decision has been made public. Their decision may not be appealed. The decision will be announced before January 10th, 2013.
11.The deadline for submitting scores is December 1st, 2012.
12.The works will be submitted under pseudonym.
2nd Prize:Euro 3000
Age Limit:35
Duration:6 to 15 minutes
Web Site:www.esmuc.cat/eng/Departments/Theory-composition-and-conducting/11th-Joan-Guinjoan-International-Prize-for-Young-Composers

 C4 Ensemble
Summary:Call for choral scores
Deadline: None
Date Posted: 18 September 2012
Details: The C4 ensemble invites composers to submit scores for chorus and electronics for possible future performances. More details can be obtained from the ensemble via the link listed above.
Web Site:www.c4ensemble.org

 Queen Elisabeth Competition
Summary:Prize for concerti
Deadline: None
Date Posted: 15 August 2012
Details: Composers are invited to submit scores for piano and symphony orchestra with a maximum duration of ten minutes. The winning composition will be performed by winners of the Queen Elisabeth Piano Competition. More details on the competition and how to apply can be found on the organiser's website listed above.
Web Site:www.qeimc.be/cgi?usr=a82dgdpzc6&lg=en&pag=1692&tab=87&rec=4&frm=0&par=secorig1677&par2=atvorig0&id=6453&flux=6111162

 Lecturer in Music
Summary:University teaching post
Deadline: None
Date Posted: 09 July 2012
Details: The Department of Music at Princeton University has an occasional need for lecturers. Dependent on department need, responsibilities may include some or all of the following: teaching or co-teaching in areas such as Musicology, Ethnomusicology, Musical Performance, Jazz Studies, Computer and Electronic music, music theory and composition and/or coaching student ensembles and presenting a final concert to the University community.

Web Site:www.princeton.edu

 Assistant Professor of Theory/Composition
Summary:University teaching post
Deadline: None
Date Posted: 06 May 2011
Details: The University of Texas at Tyler is seeking to appoint an assistant professor of music responsible for teaching theory and aural skills, orchestration, form and analysis, counterpoint and applied composition. More details on the post and how to apply can be found on the university's website listed above.
Web Site:www.uttyler.edu

 North/South Consonance
Summary:call for scores (various combinations)
Deadline: None
Date Posted: 20 April 2011
Details: - All composers are eligible for consideration
- Solo, chamber ensemble and chamber works up to 18 performers will be considered
- Vocalists, percussion and/or electronics are acceptable
- One work will be selected for recording on the North/South label
- $25 non-refundable fee per composition submitted required
(Checks must be negotiable through a US bank)

Complete submission guidelines posted at

http://www.northsouthmusic.org

Mail submissions to

NORTH/SOUTH CONSONANCE, INC.
P.O. Box 698 - Cathedral Station
New York, NY 10025 – 0698
USA
Web Site:http://www.northsouthmusic.org

 Walden School Creative Musicians Retreat
Summary:Summer course for composers
Deadline: None
Date Posted: 30 March 2011
Details: At the Creative Musicians Retreat (CMR), participants will take classes (including courses in The Walden School Musicianship Course), sing in chorus, write music, and improvise. Participants will be exposed to a variety of Walden musicianship materials, including acoustics, drills with intervals and triads, resolving structures, rhythms, solfege and harmonic analysis. Classes will also include topics in contemporary music, computer music and applied skills (conducting, improvisation and more). Composition lessons and tutorials will also be offered.

The faculty for the Creative Musicians Retreat (CMR) are drawn from veteran faculty of Walden’s renowned Young Musicians Program and Teacher Training Institute. They have all had extensive training through Walden’s Teacher Training Institute and are a diverse mix of improvisers, composers, performers and music scholars. All are acclaimed members of The Walden School faculty. The 2011 CMR faculty include:

Marshall Bessières
Dr. Caroline Mallonée
Dr. Loretta Notareschi
Sam Pluta
Leo Wanenchak

Members of The International Contemporary Ensemble (ICE) will be in residence at the Creative Musicians Retreat. A concert, open to the public, will bring a world-class performance ensemble to CMR and exciting music to participants’ ears. Participants will have the opportunity to write for and work with the ensemble. Everyone will participate in two Composers Forums, where they will have the opportunity to hear brand new music and discuss it with the performers, composers, visiting artists, faculty and Russell Pinkston, the workshop's Composer-in-Residence.

At the Creative Musicians Retreat, participants will have the opportunity for community singing and will train with solfège using Curwen handsigns. Acclaimed choral pedagogue Leo Wanenchak will lead daily choral rehearsals.

The proposed schedule of activities for the week is available by clicking on this link, which will open up a .PDF document. This schedule is subject to change.

The Creative Musicians Retreat will offer something for anyone wanting to invigorate their musical training, participate in a rich and diverse musical community, and to engage in creative music making, through musicianship, composition, improvisation, choral singing, computer musicianship and more. The program is not designed for the brand-new, novice musician, but it is also not designed exclusively for those with extensive training. The faculty and administration intend to offer a program appealing and worthwhile to a range of participants, across a variety of age groups, skill levels, and interests.

Participants will live in single rooms on the beautiful Smith College campus in one of their dormitory buildings. Meals will be taken in the Smith College dining facilities and will feature varied and delicious menus. Participants will have access to athletic and workout facilities, practice rooms in the music building for study, composition and practice, and enjoy the Smith College campus. We hope that all of the participants will join us for a hike on a nearby mountain on the final Saturday, and opportunities will be made available for participants to enjoy Northampton, a quintessential New England town.

The Walden School Creative Musicians Retreat offers more than just training. It will reinvigorate its participants on an academic and musical level, as well as invite them into a unique creative community. CMR offers a true experience, an exploration of self, of music – a connection with a vital creative community. Each participant will form meaningful musical and personal connections with others and with his/her own creative self.
Web Site:www.waldenschool.org/retreat/

 Assitant Professor of Composition
Summary:University teaching post
Deadline: None
Date Posted: 08 December 2010
Details: Colgate University is seeking a full time assistant professor of music composition. The succesful candidate will hold a doctoral degree and have experience of working in a digital music studio. The role includes teaching composition, digital music studio and traditional harmony. More details on the post and how to apply can be found on the university's website listed above.
Contact:Glenn Cashman, Chair Department of Music Colgate University 13 Oak Drive Hamilton, NY 13346
Web Site:www.colgate.edu

 MFA in ICIT at UCI
Summary:Courses in Integrated Composition
Deadline: None
Date Posted: 26 November 2010
Details: The Department of Music at the University of California, Irvine invites applications to its Master of Fine Arts program in Integrated Composition, Improvisation, and Technology (ICIT). The program is taught by a core faculty whose work embraces diverse forms, challenging conventional distinctions between classical composition, computer music, non-Western music, and jazz. Students receive close personal attention from faculty, and are encouraged to work on interdisciplinary projects. We seek students with a strong foundation who wish to develop creative work integrating a wide range of contemporary music and ideas.
Web Site:http://music.arts.uci.edu/icit