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 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) 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) 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.

Summary:Funding Opportunity
Deadline: 21 August 2017
Date Posted: 26 April 2017
Details: JFUND for New Music

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:
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.

• 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.


• 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.


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.

Jerome Foundation
Contact Person:
William J. Lackey

 3rd Annual Young Composer Competition
Summary:Chamber Call for Scores
Deadline: 15 May 2017
Date Posted: 26 April 2017
Details: The Boston New Music Initiative is pleased to announce its third annual Young Composer Competition. The purpose of this competition is to further the mission of The Boston New Music Initiative to generate and celebrate the creation of new music. Incorporated in 2010, BNMI aims to advance the careers of its members in the field of new music by serving as a resource for networking, professional development, commissioning, collaboration, and programming. The call is open for acoustic, electro-acoustic, and multimedia works. Any composer born after January 1, 1997 is eligible to submit regardless of nationality, sex, color, creed, sexual orientation, marital status, disability or veteran status. Composers currently or formerly on the staff of The Boston New Music Initiative as well as past competition winners are ineligible to apply. Submitted compositions must include at least one instrument from BNMI’s core ensemble (see below).

The winner of this competition will have their work performed by The Boston New Music Initiative on the 9th concert season (2017-18) and is expected to attend the performance. A travel stipend of up to $250 will be made available to the winning composer.

1. Instrumentation. BNMI’s core ensemble consists of Flute (doubling Piccolo, Alto Flute or Bass Flute), Clarinet in B-flat (doubling Clarinet in A, or Bass Clarinet in B-flat), Violin, Violoncello, Piano and Percussion. Works with unusual percussion instruments or a large number of percussion instruments may not be able to be programmed. Stereo electronic, electroacoustic, or multimedia works are accepted, but at least one live performer must be used (no fixed-media). Any additional instruments should be standard orchestral instruments or singers. Works including rarer instruments such as Harp or Celesta may not be able to be programmed.
2. Duration. Works can be of any duration, although preference may be given to works which are 12 minutes or less. Multimedia. For all multimedia submissions, composers must either indicate that they have the rights to the specific multimedia element to be used (e.g. the film, tape, MAX/MSP patch, choreography, artwork, etc.) and grant BNMI permission to utilize it during performance, or else grant BNMI permission, at its discretion, to create a multimedia element. In the second case, BNMI reserves the right to incorporate or not to incorporate multimedia elements at its sole discretion.
3. Electronics. Scores of works involving electronic elements must include information on the specific technical requirements for performance. Likewise, multimedia works must indicate any extramusical forces needed. Works utilizing excessive electronic equipment may not be able to be programmed.
4. Number of Entries. There is no limit on the number of works a composer may submit, however each work should be submitted as a separate entry. Multi-movement works should be submitted as single entries, even if movements are in separate files. (The submission process allows for multiple files per entry.)
5. 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, see submission processbelow) before submitting. Please make sure no meta-data including names or identifying marks remain in submitted files. No pseudonyms or code numbers are necessary.
6. Membership. Composers wishing to submit scores must become members of BNMI; Associate Membership is free and Full Membership is $20 a year. Information on membership benefits can be found here.
7. Questions? First check the FAQ section below. If you still have questions, please address them to Note: Please DO NOT send submission materials to this email address as the materials cannot be submitted using this method. When submitting inquiries, please be as generic as possible, and DO NOT include the title of your piece in the query in order to preserve anonymity.
8. File Formats. The only acceptable file formats are:
o For the score: .pdf
o For (optional) audio recordings: .mp3 or .m4a
o For (optional) video: .mov or .m4v
o All other materials: .doc, .docx, .txt, .rtf, .odt, or .pdf
9. Delivery of Music. Selected composers are required to provide electronic copies of the full score and parts within four (4) weeks of their notification of selection. If electronics or multimedia are involved, all files required for performance and rehearsal must be submitted within the same time frame.

Submission Process
Composers are asked to use our submission portal to upload the following materials (each as separate documents).

1. An anonymous PDF file of the score.
2. A recording of the work (not required but encouraged)
3. For works using electronics, a detailed description of technical requirements and processes needed (i.e. a “tech rider”).
4. An entry fee for each submission. The entry fee for this competition is $5 for Associate Members, and no fee for Full Members. Membership information can be found here.
5. An information sheet containing the following:
o Composer’s contact information (name, phone number, physical mailing address, email address, and website URL, if any)
o Title, instrumentation, and duration of the work
o Work’s date of completion and complete performance history
o Performing rights organization (ASCAP, BMI, etc.) associated with the work and/or composer, if any
o Composer’s year of birth (for program information only)
o Composer biography and program notes for the work (maximum 300 words each), to be used if the work is selected. BNMI reserves the right to truncate the program notes or composer biography if either exceeds the word limit.

FAQs and Helpful Hints:

1. Please note that new memberships may take up to 24 hours to be approved (although usually much less). Composers signing up as new members who wish to submit to this competition should be sure to allot enough time for the approval process to complete in order to meet the May 15 deadline.
2. The submission portal is not available without login credentials. Composers who are not existing BNMI members must first submit a membership application in order to create login credentials.
3. Once all files have been added for each work, be sure to complete your payment in the bottom left-hand corner of the screen. Full members must have dues paid in order to receive discounts. For those composers submitting more than one entry, payment should be made only after ALL entries have been completed.

 2017 Earplay Donald Aird Composers Competition
Summary:Deadline extended
Deadline: 31 May 2017
Date Posted: 26 April 2017
Details: Deadline: May 31, 2017 (extended!)

Earplay sponsors the annual Earplay Donald Aird Composers Competition, open to composers of any nationality and any age. Earplay performs the prizewinning piece and presents a cash prize of $1,000 to the winning composer. The competition honors the late composer and Earplay board member Donald Aird.

You can submit an Aird competition application electronically or by mail. Please send mail if you have questions or comments.

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

Works are limited to 1 to 6 players (at most 1 of each, e.g., not 2 violins) from Earplay's ensemble:
• flute/piccolo/alto flute
• clarinet/bass clarinet
• piano
• violin
• viola
• cello
Works may include electronics.
Works may be of any duration (8-15 minutes preferred).
Each composer may submit any number of pieces.

Cash prize: $1,000.
Performance by Earplay during our next season.
Earplay will announce the winner in fall 2017.
All entries will be considered for future performance.

Applications must be submitted online or postmarked by May 31, 2017.
[Note that the 2017 deadline has been extended!]

Earplay strongly encourages you to use online application, but if you prefer you can print an application form, fill it out, and mail it instead. You can use online application even if you intend to mail some parts of your application (composer bio, score, program note, recording, or payment). Sorry, mailed submission materials cannot be returned.

• Completed application form or online application (preferred)
• Brief composer biography
• Score (all composer identification removed)
• Brief program note
• Recording (not required but strongly recommended, all composer identification removed)
• Application fee US $26 per score (cash, check, or PayPal payment)

Mailing address:
2017 Earplay Donald Aird Composers Competition
560 29th Street
San Francisco, CA 94131-2239

 "Golova Bolit" Arrangement
Summary:Call for arrangments
Deadline: 10 June 2017
Date Posted: 26 April 2017
Details: We are the seeking for best arrangements of a Russian folk song named "Golova Bolit" for string quartet or string orchestra. Applicants can find dropbox link to the recording of Golova Bolit by Peter Nalitch. They should listen carefully to a wonderful music coming from beautiful culture and nature of Russia and try to write it down with their own orchestration preferences and intend to transcribe a never-arranged folk song for classical instruments in the best possible way to save the originality.

Note 1: Composers may feel free to be creative but the melody and structure of the piece must follow the original song.

Note 2: While the call is intended for string arrangement but other classical instrumentation also will be considered (even solo piano!).

Note 3: Tonality and articulations could vary comparing to the recording if the arranger suggests a more expressive articulation that fits the song better than recording.

All composers and arrangers are welcome!

1st prize: $400
2nd prize: $200
3rd prize: $100

Award announcement: July 1, 2017, all applicants will be notified by email.

Winning scores will be considered for performance in part of an opera based on Russian novelist, Anton Chekhov's short stories.

For submission or questions please email:

Golova Bolit by Peter Nalitch:

Deadline for submissions: June 10, 2017, 12:00pm EST

Deadline: 10 Jun 2017

Summary:Young Composer Competition
Deadline: 01 May 2017
Date Posted: 26 April 2017
Details: In celebration of our 20th season in 2015, we at The Summer Singers put together our first Young Composers Competition. Since then, the initiative has grown and attracted more than 50 entries from around the world in 2016. Composers must be 25 or younger at the time of submission.

2017 submission guidelines:
1. Composer must be age 25 or younger at time of submission
2. Composition must be written for SATB a cappella choir. Works may have a maximum of 8 part divisi (SSAATTBB)
3. Maximum work length is five minutes
4. Text may be of any language. Composer must submit a statement confirming that text is from the public domain or that permission has been given from the author
5. Submit a description of the work that includes a brief performance history (if any) of the work
6. Submissions accepted through May 1, 2017. Email score, description of the work (300 words or less), statement of text, and short bio (100 words or less), to with subject:
2017 Composition Submission

In the event that two compositions are considered equally exceptional, preference will be given to a work in which TSS would premiere or give the second performance of the work and/or fits into the theme TIMELESS -- featuring choral gems from revered composers of music history as well as historic texts set by contemporary composers.

The composer of the winning submission will receive
• a prize of $500
• Three concert performances during our July season
• A professional recording of the work
• The winning composer is welcome to participate in the rehearsal process in person or via electronic communications

The Summer Singers will help promote the winning work and the composer may choose to have a perusal copy of the winning submission posted on our website. The Summer Singers will have a perpetual license to perform and record the winning work for archival and other purposes, including CD distribution and website postings.

 Ensemble Échappé's Call for Scores
Summary:Chamber Call for Scores
Deadline: 14 May 2017
Date Posted: 26 April 2017
Details: Ensemble Échappé's Call for Scores & Search for the 2017 -19 Composer-in-Residence

Application Deadline: May 14, 2017 | 11:59 EDT.

Ensemble Échappé wants to learn more about your music. Please apply to our Call for Scores for the opportunity to have your music programmed on our next season. We are also delighted to announce the search for our new Composer-in-Residence position (2017-19). This post includes the programming of your music throughout our next 2 seasons, the opportunity to contribute to artistic planning, and a commission for a new work to be premiered at the end of the residency. We look forward to hearing from you.

Composers of any age or nationality are invited to submit scores to our dual call. One composer will be selected for the 2017-19 residence position, and at least 2 scores will be selected for programming next season in New York City. There are no restrictions on the works submitted - pieces may have been previously performed, recorded, and/or awarded. While we are open to performing works of any instrumentation (full ensemble and/or chamber music), we are a sinfonietta of the following instrumentation, 1111.1110. 2perc, hp, pno, strings (, so works that fit into that subset will be more conducive to programming. Please make a special note and include technical information for any works involving additional media (electronics, video, special staging, etc.).

Application requirements include:
Online application Form:
​Contact Information
up to 2 work samples - PDF and audio / video recording,
$15 administrative submission fee

NOTE: Applicants to the Call for Scores may submit up to 2 works. Those wishing to submit more scores must file a second submission. Applications to the Composer-in-Residence position MUST supply the 2 work samples.

Materials will be reviewed by a committee comprised of members of Ensemble Échappé and an external adjudicator. Results will be publicly announced by mid July 2017.

Please send any questions to

 Women Composers Festival of Hartford
Summary:Composer in Residence
Deadline: 15 May 2017
Date Posted: 26 April 2017
Details: The Women Composers Festival of Hartford is now accepting submissions from potential Composers-in-Residence and Featured Performers for 2018 and future years. The Composer-in-Residence will have her music showcased on the Festival, will give talks and masterclasses to area schools, participate in other outreach and publicity activities, compose a new work to be premiered at the Festival, and more. The Featured Performer(s) will present a concert of work by women composers including a new commission by the Composer-in-Residence and works chosen from a competitive score call, participate in a reading session for student composers, and more.

Please complete the forms linked below to apply for these opportunities. Applications will be accepted year-round but only those received by 5/15/17 will be considered for 2018.

Composer-in-Residence Application – Due 5/15/17 for 2018

Featured Performer Application – Due 5/15/17 for 2018

Additional opportunities for composers, performers, and scholars can be found in our annual calls for participation. These are typically announced in the summer, so check back soon!



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:

 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.

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 (

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

 Opus Testing: Tower & Helm Call for Proposals
Summary:Carillon Competition
Deadline: 23 May 2017
Date Posted: 26 April 2017
Details: Musica Reflecta and the Canadian Music Centre invite you to participate in OPUS: TESTING, an open and safe space for artists to explore, collaborate, and create. We are pleased to be co-presenting this edition of Opus Testing with Roy Lee, who plays the carillons at the Metropolitan United Church and at the University of Toronto (Soldiers’ Tower Carillon).

Summer 2017 Assignment: Tower & Helm

Deadline: May 23, 2017

Performers: Roy Lee, Carillon (Soundcloud)

Although a rare instrument in Canada, the carillon has the ability, and tacit permission, to fill public spaces. In the hands of a capable player the bells can achieve a range of colour and emotion. Despite its pervasive sound, a majority of people experience the carillon ambiently, deriving their own meaning as they listen with the sounds in the foreground or background.

What do the sounds of carillon intone for you? We invite artists to propose short works for carillon that explore the personal meaning suggested by the bells. What happens when you write a piece for yourself, knowing that thousands of people might have a passing encounter with it? How does your piece function in amongst the din of the Toronto soundscape? We are open to various interpretations of the assignment.

• Tuesday, May 23: Deadline for proposals
• Monday, May 29: Confirmation of participants
• June: tours of the Carillon Tower(s), Recital attendance opportunities:
• Tuesday, June 13: 6:00-6:30pm Soldiers’ Tower Carillon Recital, 6:30pm-7:00pm tour and demonstration of the carillon
• Additional recital times will be circulated to participants
• July 31: Submission of pieces
• August-September: one-on-one rehearsals
• Late September: Workshop presentation: Friday 7-8pm, or Saturday 7-8 (exact date will be determined)

Proposal Process:
• Using our online form, artists are invited to submit a short concept proposal (200 words max) by the deadline. Let us know what ideas you would like to explore in your piece, and why you are interested in working with Roy Lee and writing for carillon.
• Please include a link to some sample of your existing work (soundcloud, bandcamp, youtube, vimeo, etc)
• Your proposed piece can be presented as a graphic score, instructional score, or using conventional notation
• Any artist is eligible to apply. We can facilitate video conferencing with remote participants.
• Musica Reflecta and Roy Lee will assess proposals. We will try to facilitate inclusion of all submissions. Proposals are largely chosen on a first-come first-serve basis. Our focus is on your written proposal, while technical and aesthetic assessment of any submitted piece is secondary
• To hear and see the Soldiers’ Tower carillon being played, you can reference the Tower’s youtube page. Participants will receive additional instruction and resources to support the composition process
• While you are preparing your piece, please be mindful of the restrictions on rehearsal time. Technically challenging pieces may be excerpted at the discretion of the performer for the reading. Pieces can range from 30 seconds to 5 minutes.
• All participants are invited to gather for the no-stress reading and discussion on —bring your ears and friends!
• Accessibility information: attendance for a carillon recital is fully accessible, however the carillon towers are not fully accessible (there are long sets of stairs up and down). Please notify the organizers if this is a concern for you, and we can address ways to support your participation.

For information, contact: OR

 Call For Scores--Sonic Liberation Players
Summary:Pierrot Call
Deadline: 30 June 2017
Date Posted: 26 April 2017
Details: Sonic Liberation Players is an expanded Pierrot group in the Boston area that is entering into their second full performance season this coming fall and is looking for new works to consider programming for their upcoming season (and possibly into the future). Recent composers that we have programmed include Cage, Feldman, Saariaho, Julius Eastman, Alvin Lucier, and Pauline Oliveros.

Fl, Cl, Ob, Vln, Vla, Vc, Pf, Perc, Sop (voice). We also have the possibility of a string quartet, as our flutist also plays the violin. You may submit scores for the entire ensemble, or any subset thereof.

We are looking for new works as well as works that have been previously performed.

Please submit scores (.pdf) to

Thank you for your time,

Deadline: 30 Jun 2017

 Boston Musica Viva Emerging Composers Call for Scores
Summary:Chamber Call for Scores
Deadline: 19 May 2017
Date Posted: 26 April 2017
Details: Boston Musica Viva seeks works within the instrumentation of the ensemble’s core players (Pierrot Plus Percussion) from emerging New England composers of any age, to receive two 30 minute rehearsals each and one professionally recorded, public performance on June 2, 2017, at 8pm.

• Not currently a student enrolled in an undergraduate or graduate program.
• Composers of any age are encouraged to apply.
• Provides a current personal mailing address in one of the following states:
MA, VT, NH, CT, RI or ME.
• Composers must be available to attend daytime rehearsals on June 1 and June 2, and the performance on June 2.

Scored within the instrumentation of BMV’s core players (fl, cl, perc, pf, vl, vc)
with common doublings.
Percussion may include:
Mallets: Marimba, vibraphone, glockenspiel
Drums: bd, snare, 2 toms, bongos
Metals and woods: 2 cymbals, 2 tamtams, temple blocks,
Auxiliary: wind chimes, tambourine (others possible upon request)
Length not to exceed 15 minutes.
Has not received a professional performance/recording, or unperformed.

HOW TO APPLY: Submit .pdf, .doc, and .mp3 files to with the email header “Call for Scores Submission” by Friday, May 19, 2017, at 5pm.
For submissions larger than 10MB, please send multiple emails.

Please Send:
1) 1 Score
2) Recording of the work (optional, MIDI realizations accepted)
3) Artist Statement explaining the submitted work and how it relates to your artistic development.
4) CV (listing a current personal New England mailing address)
5) List of Performances (for all works composed by the applicant)

Selected composers are expected to attend all rehearsals and performances
Friday, May 19, 2017 at 5pm – Deadline for submitted scores.
Wednesday, May 24, 2017 – Selected scores announced.
June 1, 2017, time TBD (likely between 10am and 1pm) – 1st Rehearsal
June 2, 2017, time TBD (likely between 10am and 1pm) – 2nd Rehearsal
June 2, 2017, 8 pm – Free public performance at Studio 401, Hemenway Building, Boston Conservatory.

For more information about the call for scores or about BMV, contact Executive Director Robert Pape at


 Two-minute piece for two flutes
Summary:Duet Call
Deadline: 01 July 2017
Date Posted: 26 April 2017
Details: Iwona Glinka (Athens-based flutist) and Ewa Liebchen (Warsaw-based flutist) are seeking for new two-minute pieces for performance and recording. Submissions must be not yet commercially released on recording. It is acceptable if the music has been disseminated on the Internet via YouTube, Soundcloud, personal web sites, etc., as long as a commercial recording has not yet been produced.

Submissions must be two flutes (piccolo, flute, alto, bass) works. The length should be two minutes. The style is open to the taste of the composer.

The intention for selected submissions is to present them in live performance in programs and then to record them for a CD made up exclusively of submissions from this call to be released on Sarton Label Full physical and digital distribution via Warner Music, Naxos Music Library, Linn, Hdtracks, Qobuz, HighResAudio, eClassical,, iTrax, ProStudioMasters, Onkyo, iTunes and more.

Four-stages submission process:

First stage until July 1, 2017.

- No fee in first stage

- No works over two minute will be reviewed.

- Multiple submissions are accepted.

- Provide a maximum 50-word biography and 50-word program notes in English

- Upload a score as a PDF file to

- Demo recordings are welcome via a link to Dropbox, Soundcloud, or other external hosting site. Please do not email audio files.

Second stage until August 1, 2017.

- All selected composer's works will be subsidised for the performance, recording and distribution of their work.
- Agreement signing

- Fee 200 Euro via PayPal, Western Union, bank transfer (recording equipment, sound engineer, editing, preparing the master, renting venue, cover and inside design, CD production, distribution)

Third stage until January 1, 2018

- Concert and Recording

Fourth stage until May 1, 2018

- Sending to every composer 10 copies of CD album

 RMN Music
Summary:Electroacoustic Call
Deadline: 31 May 2017
Date Posted: 26 April 2017
Details: At RMN Music, we want to discover the next generation of composers that are making works of Electroacoustic Music
Luciano Berio, Pierre Boulez, Pierre Schaeffer, Edgar Varèse, Iannis Xenakis, Steve Reich, Milton Babbit, John Cage …

Electronic Music, Live Electronics, Electroacoustic Music, Music Concrète, Acousmatic, Soundart, Sound Installation, Soundscapes…

If you use technology to generate, transform, manipulate, create sounds and compositions then this project is what you were looking for.

We decided to launch this Call for Electroacoustic Works to discover and promote the next generation of composers that create music with instruments different from the tradition.

We are looking for sounds that have never been heard before, innovative ideas, original compositions, outstanding productions, anything able to shape the music culture of tomorrow’s young composers, musicians and audience.

We plan to select the best works and to produce a top quality release to add to our current catalogue. The fresh new album will be produced by RMN Classical and released worldwide through RMN Music. The release will be distributed worldwide in a high-quality edition on iTunes, Apple Music, Google Play Music, Amazon Music, Spotify and many other stores. We are currently setting up a physical distribution for all of our releases and we’re glad to add this services to the prize as soon as this will be available.

Professional production of the album
Commercially published by RMN Classical
Worldwide distribution via RMN Music

Design of the cover artwork
Preparation of the liner notes and other promotional text
Every composer keeps the copyright of his/her own work
Get a share of the sales of the album
Option for physical distribution
Option for the manufacturing of the album

The prize also includes:

Licensing and Copyright clearance
Contracts and agreements preparation with the winning composers
Barcodes and ISRC codes
Chart registration (USA, UK e Canada only).
Digital Promotion and Press release distribution

Note: To ensure the highest quality of services possible, the selected composers will be asked to help towards the production costs with a small participation fee. This is to allow the winners the access to a commercial professional release with no compromises on quality. Terms and Conditions apply. Contact us if you’d like to know more.

Master recording in any sub-genre related to or connected with the Electroacoustic Music. Some examples of accepted genres are Electronic Music, Live Electronics, Electroacoustic Music, Music Concrète, Acousmatic, Sound-art, Sound Installation, Soundscapes…
If in doubt please Contact Us

The quality of the track submitted should be of the highest standard possible

Maximum duration:
4 minutes.

May 31, 2017

Submission fee:
£10 per work submitted
Should include notes about the work and notes about the composer

This is a Call for Electroacoustic Works, PLEASE DON’T send us music scores, we need only the Master Recording of the piece.

IMPORTANT: The composer must be able to license the work for the release. If the submitted work has been previously released or published please check with your publisher, label or manager if you can enter into this Call for Electroacoustic Works. We will reserve the right to withdraw your participation and fee would not be refunded if there is any irregularity.

 CEMI circles 2017 Call for Works
Summary:Computer Music Call
Deadline: 05 May 2017
Date Posted: 26 April 2017
Details: The Center for Experimental Music and Intermedia (CEMI) at the University of North Texas invites electronic music composers of all nationalities and ages to submit works for the CEMIcircles Concert Series. Submitted works will be curated and selected by the CEMI personnel, with the assistance of CEMI Director, Panayiotis Kokoras. The concert will take place in the Merrill Ellis Intermedia Theatre, featuring a 28.3-channel audio system, three-screen immersive HD video projection, and full stage customizable lighting including “smart light” units.

One submission per composer ·
Submission Fee: none ·
Deadline: Friday, May 5

 Annual International Young Composers Academy
Summary:Composers' Academy
Deadline: 15 May 2017
Date Posted: 26 April 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

Looking forward to see you in Russia!


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)


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)

 Writing the Future
Summary:Collaboration opportunity
Deadline: 26 May 2017
Date Posted: 26 April 2017
Details: The London Sinfonietta is pleased to announce the next round of Writing the Future, an open-call programme that supports the careers of composers and music creators through the process of making new work with the ensemble.

This new Writing the Future programme lasts for approximately two years, allowing for longer and innovative new works to be made and performed. Previous Writing the Future composers have gone on to release music on labels such as NMC, have had their music performed in the London Sinfonietta’s season and received further commissions from the ensemble.

Those selected to be part of the programme will be offered:

• At least one chamber commission to be performed by the London Sinfonietta in a future main season event.
• A close working relationship with members of the ensemble to develop ideas.
• An introduction to music industry professionals who can advise on different aspects of career development.
• Opportunities to work on different aspects of the ensemble’s programme – including digital projects, schools and community work and the London Sinfonietta Academy.
• Open access to visit London Sinfonietta rehearsals and concerts.
• Opportunities for coaching and mentoring from world-leading composers and conductors as part of the London Sinfonietta’s season, and in partnership with the Southbank Centre where the ensemble is a Resident Orchestra.

The London Sinfonietta is at the forefront of developing new music, and we are seeking to include composers and music creators from different social, cultural and musical backgrounds. We are keen to work with artists who will bring new ideas to the ensemble, and explore with us innovative approaches.

For more information please see the Writing the Future 2017 Guidelines.

To apply please complete the application form below, and send along with relevant supporting materials to by Friday 26 May 2017.

 Allentown Symphony
Summary:Art Inspired Composer Competition
Deadline: 25 August 2017
Date Posted: 26 April 2017

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.



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


High School
College (up to age 22)
Adult (age 23 and above)

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

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;

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

 London Music Society 2017 International Composer's Competition
Summary:String Orchestra Competition
Deadline: 07 July 2017
Date Posted: 26 April 2017
Details: London Music Society was established to find and promote talented composers and soloists from around the world. We aim to provide opportunities for talented musicians through performance opportunities, recordings, and contacts with music agencies.

London Music Society 2017 International Composer's Competition

• London Music Society 2017 International Composer's Competition is designed to provide an opportunity for composers to showcase their work.
• The competition is open to all nationalities with no age restriction.
• Interested candidates are required to present a work of maximum 12 min in duration for string orchestra.


• 1st Prize: The highest scoring work among the finalists shall be featured as the winning work in the Autumn 2017 performance by the London City Philharmonic. The 1st prize winner composition may also be included in a recording of works by contemporary composers by the London City Philharmonic.
• 2nd and 3rd Prize winners will be given a performance by the London City Philharmonic at a later date during the 2018/19 season.
• A maximum of six honorary mentions will be given by a distinguished panel from the works submitted. These composers will receive a certificate from the London Music Society and will have their names published on the London Music Society website.


• The work shall not exceed 12 minutes in duration.
• The string section must be no more than 6-4-4-4-2. There should be no more than 3 divisi for the 1st Violins, 2 divisi 2nd Violins, 2 divisi Violas, 2 divisi Cellos, no divisi Double Basses.
• The applicants are welcome to name the submitted work and apply under a pseudonym. Said pseudonym, however, may only be used until the start of the competition. All applicants are requested to submit their scores without featuring their name. The composer’s full name and address should be included in a separate paper/note enclosed with the application, so the Competition Office may process the application correctly.
• The submitted work need not to have been composed exclusively for the London Music Society 2017 International Composer's Competition.
• The work may have been performed earlier but it may not have been awarded a prize.
• In case the work has already been performed and recorded, a recording of the performance in three copies could follow the application when is possible, or a link to its performance online must be sent to . The composer may also submit a mp3 file of the notation program playback.
• The panel will meet in July and the winners are expected to be announced by the end of July 2017. There will be a limit number of 50 applications, if the number of applicants will be too high, the Competition has the right to close all applications before the deadline. In order to secure a place in the competition, the applicant should pay the participation fee in Euros €50 or British Sterling £50 (payment details below).

Deadline and How to Apply

• Deadline for submissions of the composition and the payment of the registration fee is Friday 7 July 2017. Works submitted after this date, or candidates who have not paid the registration fee shall not be considered.
• The composer’s full name, postal address, email address and telephone number should be included in separate paper/note inside the postal application, so the Competition Office may process the application correctly.
• Composers must submit three hardcopies to: London Music Society 15 Shire Place, The Ham, Brentford, London, UK Post Code: TW8 8HE.
• The date on a postal stamp will suffice as evidence in last minute applications.

• The entry fee for the competition is Euros €50 or British Sterling £50 payable and due by the submission deadline to either one of the following accounts. The application fee will be accepted either in Euros or British Sterling and must to be paid before the deadline 7 July 2017.

Euro fee €50
British Sterling fee £50


 "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)/ 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:

Please send your application to the program coordinator Mr. Zhiyi Wang

The program committee will evaluate your materials and select the finalists.


 BASCA presents: Film/TV Composer Masterclass
Summary:Film Music Masterclass
Deadline: None
Date Posted: 19 April 2017
Details: We are pleased that Emmy award-winning composer Richard Bellis will once again come to London to share his insights in the world of composing for film and tv. The theme of this lecture is:


“Is a career doing cue emulations enough for you? Why is there a temp score? Who created it (can it make a big difference)? What are the chances for modifying or mitigating the temp? Defining the “Essence” of the temp score. If you want to be original, you must first get permission. “And just how do I do that?”

The background of Richard Bellis is distinguished by its surprising diversity: child actor, touring rock ‘n roll music director, arranger/conductor for Las Vegas headliners, university lecturer and now, Emmy award-winning Hollywood composer.

Richard has composed scores for film and tv from Steven King’s psychological horror/drama ‘It’ to tv’s Star Trek Deep Space Nine. He regularly lectures around the world to media composers discussing such subjects as how to work to deadlines and the tricks and tips of how to navigate through a score or tv composition.

6.00pm, registration
6.30pm – 8.00pm, masterclass
8.00pm – 9.30pm, networking

Richard Bellis is an Emmy award-winning composer; author of “The Emerging Film Composer: An Introduction to the People, Problems and Psychology of the Film Music Business”; is a past president of the Society of Composers & Lyricists; served on the faculty of the University of Southern California’s Scoring for Motion Pictures and Television course and UCLA Extension’s Film Scoring Certificate program: served on the Board of Governors for the Academy of Television Arts and Sciences and is the director and mentor of the “ASCAP Television and Film Scoring Workshop with Richard Bellis”. He currently serves on the Board of Directors of ASCAP and lectures internationally on film and media music.

” Creating music that sounds like film music is different from being a film composer.”


 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


 X° Destellos Competition 2017
Summary:Electroacoustic Call 3 Categories
Deadline: 20 May 2017
Date Posted: 19 April 2017
Details: The Foundation Destellos, call for works for the Tenth Competition of Electro-acoustic Composition, this year with the new category Visual music.
The objectives of this competition are the promotion and development of the artistic creation in relation with new technologies. Likewise, it is an intention of the Foundation Destellos to stimulate the creativity of the young generations of artists and to provide them new routes of diffusion of their works.
This year will be attributed three first prizes of an amount of 600 American dollars each, in the categories:

A. Acousmatic music
B. Mixed media
C. Visual music electro-acoustic

Also, as in former editions, will be granted second prizes, consisting in collections of CD of electroacoustic music offered by:

Akusma Foundation Phonos of Barcelona, Spain.
Musiques et Recherches, Belgium
GRM (Groupe de Recherches musicales), France
Likewise, Destellos Network will create the prized pieces into the two years after the competition.

1. The call is open to composers of any nationality, age and gender.
2.Each candidate can send only one work by category, not been published for commercial purposes or prized before. It is recommended to get off the piece of any web site (ex. YouTube, SoundCloud etc).
3. Entry fees of 20U$A for one piece and 5U$A for each one of other pieces, must be paid by Pay Pal, through the "donate" button on the web site:
4. For Category A, Acusmatic music : will be accepted stereophonic and multitrack works up to 11' duration.
5. For Category B, Mixed media : will be accepted works for instrument/s and electronics , up to 11' duration.
6. For Category C, visual music, will be accepted video works up to 6', preferably in format .mov.H264.
7. The participants will have to register before, sending by e-mail :
a. the submission form (attached below) due completed by computer, preserving the format. Manuscript forms will not be accepted.
c. send both as attached document to:
8. Each candidate will receive an e-mail of confirmation and a Code of inscription.
9. Once obtained the ID of inscription, the materials must be sent by :
We Transfer, Dropbox or similar to:
10. All audio files must be send in mp3 (320kbps-high quality). Multitrack pieces must be sent : 1) a stereo version 2) the separated files, all contained in a .ZIP folder.
11. Pieces with instruments must be send in a ZIP folder containing : a) score in .pdf format, b) mixed version, c) electronic part alone.
12. The files and/or folders must be labeled ONLY with the Code Number+Title of the work (ex.: "021_Mypiece"). The name of author/s should not be included in any of the media supports (score, audio files). Please don't send audio materials by email.
13. The Submission that don't fill ALL the requirements established in this guidelines, will be rejected, and the payment will not be returned.
14. The works will not be returned and will be kept in the archives of the Foundation.
15. Prize winners of the two earlier Destellos Competition cannot participate, neither members of the jury and their families.
16. The works must be sent before 20 May 2017.
17. The jury will be integrated by members of recognized international prestige.
18. The jury has the right to declare the prize deserted and give one or more mentions, also to design an "ex-æquo"prize to works of the same quality level.
19. The foundation has the right to postdate, to annul or to modify the rules of the competition at any moment. All changes will be published at the time.
20. Candidates are asked to accept all the conditions of these regulations.
21. The prizewinners are engaged to write the mention "Prix Destellos 2017" in all concert programs that include the work. The authors must inform the Foundation of the public presentations of the prized work.

 Copland House Residency Awards
Summary:Composers' Awards
Deadline: 01 June 2017
Date Posted: 19 April 2017
Details: Copland House announces the 2017 Copland House Residency Awards. Typically, seven to nine emerging or mid-career composers (American citizens or permanent residents) are selected to live and work, one at a time, for approximately three to eight weeks at Aaron Copland’s National Historic Landmark home in New York’s lower Hudson River Valley, one hour north of New York City. Accommodations, meals, housekeeping, and local transportation are provided by Copland House. Composers writing in any genre and small collaborative teams are welcome to apply. Residencies will be scheduled between November 1, 2017 and October 31, 2018. Copland House Residents also become eligible for the Sylvia Goldstein Award, Borromeo String Quartet Award, Hoff-Barthelson School/Copland House commission, and other prospective honors, performances, and professional opportunities. Composers must submit a Copland House Residency Awards application form (downloadable), three representative works and recordings, resume, and brief description of the project(s) planned. For residency guidelines, application form, and further information, please contact:

Copland House

P.O. Box 2177

Peekskill, NY 10566

tel: (914) 788-4659



residency info:

 Cantus Ensemble launches 2017 composition competition
Summary:Choral Competition
Deadline: 26 May 2017
Date Posted: 19 April 2017
Details: Cantus Ensemble is asking composers to write a Magnificat in response to Arvo Pärt’s Nunc Dimittis.

The work must be for unaccompanied voices (SATB) and last between three and eight minutes in length. It should complement Pärt’s Nunc Dimittis, as the works will be performed together.

The overall winner will receive £500, an opportunity to hear the choir perform their composition in concert on 8 July, and a professional recording of their work.

The deadline for entries is 26 May 2017. Click here for more information:


 2017 Fanfare Competition: Call for applications
Summary:Young Composers' Competition
Deadline: 26 May 2017
Date Posted: 19 April 2017
Details: Imagine hearing your music played by the Australian Youth Orchestra and broadcast at venues around Australia! If you are a budding composer or musician then the Fanfare Competition is an exciting opportunity for you.

The competition is open to young people aged 12-21 years. To enter write a 30 second composition and submit a score and recording online. Eight selected participants will work with mentor composer Nicholas Vines to fully develop their ideas, and have their work pre-recorded by the Australian Youth Orchestra.

The competition is looking for works that have ‘something to say’ and that draw attention. You don’t need to have a strong musical background – your work just needs to draw attention for the intended use of cueing audiences to take their seats at performance venues.

2017 Fanfare Competition Closing Date: 5pm, Friday 26 May 2017.
Enter online today!

Fanfares will be played at venues around Australia in 2018 and our presenting partners are: Adelaide Festival Centre, Arts Centre Melbourne, Art Gallery Society of New South Wales and Perth Concert Hall.

 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


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.


Please contact:

Please don't get in touch if you do a zillion other things and really don't have time for a committed collaboration.

 Walled City Music Festival, 1–4 June
Summary:Workshop Opportunity
Deadline: 08 May 2017
Date Posted: 19 April 2017
Details: Composers Workshop
Saturday 3 June 2017
Foyle Arts Building, Ulster University, Magee Campus, Derry
2pm – 6pm

The Walled City Music Festival presents an outstanding opportunity for composers to work with the NonZeroSum Ensemble, combining players from Acoustronic Ensemble and the Benyounes String Quartet with composer Frank Lyons to create new work for this unique group.

Inclusive Creativity, a concept devised by Professor Frank Lyons at Ulster University, aims to provide a level playing field for disabled and non-disabled musicians to make music together by developing new technologies and methodologies for their use. WCMF 2017 features four days of seminars, workshops and performances that explore the concept further and showcase new work.

Acoustronic, formed in 2015, is a performing ensemble of musicians with a learning or physical disability, based in Derry/Londonderry, rehearsing regularly at Ulster University Magee with support from Professor Frank Lyons, Denise White and Brendan McCloskey. More details of their work, and of Inclusive Creativity can be found at

Benyounes String Quartet is one of the UK’s finest young string ensembles. Founded at the Royal Northern College of Music in 2007, the Quartet have won numerous prizes and performed at prestigious venues across the UK and Europe. More information:

Up to 4 places are available for composers to create compositions for the NonZeroSum inclusive ensemble. The new compositions, which should be no more than 2 minutes in duration, will be workshopped by the artists, followed by an informal public performance of all the works on the afternoon of Saturday 3 June. The workshop will be led by Professor Frank Lyons. Workshopped pieces may be considered for inclusion in future performances by the ensemble, as part of a tour to Dublin/London later in 2017.

Expressions of interest in participating should be submitted no later than 5pm Monday 8th May. Composers should include a short CV along with a paragraph (250 words maximum) on concept and ideas for their piece and why they would like to take part in this workshop. Please send information to Selection decisions will be announced by Friday 12th May.

Resources available to composers:
Amplified string quartet
Two workstations running Ableton Live with Push controllers
Two iPads running Launchpad, Thumbjam, Curtis and Density apps.

Accommodation for one night is available for each composer, upon request, and travel bursaries are available upon application for travel to and from Derry with thanks to the Contemporary Music Centre Ireland. Email for further details.

 Young Composer-in-Residence (2018-2020)
Summary:Composer in Residence Opportunity
Deadline: 07 July 2017
Date Posted: 16 April 2017
Details: Glyndebourne is currently looking for an emerging composer aged (under 30 years old as of 7 July 2017) for a part-time residency for three years, starting in January 2018. The successful candidate must be based in the UK during this residency.

The Glyndebourne Young Composer-in-Residence will have the opportunity to:
• Immerse themselves in the work of an opera house
• Investigate different approaches to the creation of new opera and music theatre through engagement with the historical forms of opera
• Observe the development of the creation of new work (three commissions in development currently)
• Involve themselves in the broader artistic, learning and audience development activities of a professional opera company
• Create new work in opera and music theatre through a number of projects, including development workshops and/or performance
• See new work across Europe

The successful candidate will have a postgraduate degree-level qualification in composition or equivalent professional experience, and should have evidence of engagement with dramatic writing in opera, theatre, or multimedia work, of writing for the voice, and of practical skills as a pianist and/or vocalist/instrumentalist capable of improvising. Applicants should also demonstrate their interest in engaging with the work of the education department, and give examples of self-generated opportunities outside of a formal learning environment.

The successful candidate will receive an annual bursary of £17,000 to cover time, expenses and any work composed for Glyndebourne within the period of the residency.

This will require:

• Contact details
• A personal statement, summarising your aspirations for this role (1000 words)
• Two references in which the referee outlines what they think of your work and what you would bring to the Young Composer-in-Residence position. (We suggest the referees be a teacher, composer, promoter and/or musician of standing who know your recent work).
• CV including list of works
• A small portfolio of scores and recordings of performances (minimum two pieces, at least one being for vocal and/or choral writing). Please note, MIDI / Sibelius recordings will not be accepted. Files should be uploaded to Dropbox and the link shared via our online form.
We request that you also complete and return an Equal Opportunities Monitoring Form. A DBS check will be requested in the event of a successful application in accordance with Glyndebourne’s Safeguarding Policy.

The closing date for applications is at 2.00pm on 7 July 2017. Interviews will be held in late September.

If you have any questions or enquiries about this initiative please contact or 01273 815023


 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 No consideration will be given to entries received after the deadline. Submitted materials will not be returned. Questions may be e-mailed to 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.

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.


“Participation in this contest implies acceptance of these rules”


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.


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.

Alto Flute
Bass Flute
Oboe d'Amore
English horn
Clarinet in Bb-Eb-A
Bass Clarinet in Bb
Soprano Saxophone
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
Horn in F/Bb
Trumpet in C- Bb-Eb
Trombone in Bb/F
Bass Tuba in Bb
Double Bass
Classical Guitar
Acoustic Guitar
Lute (13 stringed)
Organ (32 Pedals)
Bandoneon Timpani
Snare drum
Bass drum
Tubular Bells
Orchestral Bells
Large Gong
Medium Gong
Sleigh Bells
Hand claps
Rain Stick

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:

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.


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


· 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
· 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
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


 Capital Hearings 2017 Competition: New, Non-Traditional Holiday Music
Summary:Young Composers Competition
Deadline: 03 June 2017
Date Posted: 12 April 2017
Details: The Capital Hearings are proud to announce the 2017 Young Composers Competition! We encourage composers age 40 or below to submit works for mixed a cappella ensemble that reflect this year’s call for non-traditional holiday music.

A summary of the rules is below. However, prospective entrants should review the complete 2017 rules here.

• Open to U.S. and Canadian composers who are not older than 40. The Capital Hearings, family members, those with close professional relationships (e.g., teacher/student), and previous winners are not eligible.
• Entries for 2017 will be for a non-traditional holiday piece. We encourage submissions that reach beyond the realm of traditional holiday music, which could include setting new or unfamiliar texts, distinct settings of familiar texts, and/or secular, seasonal, or sacred themes of any faith tradition. Submissions should be through-composed rather than strophic.
• Entries must be scored for unaccompanied mixed choir, suitable for performance by 12-14 voices, either with or without divisi. Entries must be between two and five minutes in length.
• Any style or genre of music is permitted (e.g., works need not be “classical”). Jazz, pop, rock, world, crossover works, etc., are all welcome.
• Works must be original compositions (not arrangements), except that limited excerpting for artistic reasons is allowed.
• Works must not have received a premiere, and must be unpublished. Exception – self-published, unsold works that are withdrawn from sale during the competition (see rules).
• All texts must be cleared for performance and commercial recording, and evidence of copyright holder’s permission must be shown. For further guidance, see here.

• $500 cash award. We will also provide the winner with an archival recording of the premiere or an early performance.
• The winner will be announced in June 2017. All entrants will be notified by email, and the winner will also be announced on our website.
• The Capital Hearings will have a two-year exclusive right to make the first commercial recording, with standard royalty rates paid to the composer. Any future publication of the score must reference that the work was a prize-winner in this competition.

Submission Guidelines
• Only one work per composer will be accepted.
• The competition will be judged anonymously. Finalists will be selected by the music director with input from a committee. The full ensemble will select the winner.
• Entrants must submit an online application form, full score, audio realization (MIDI, MP3, etc.), standalone version of the underlying text (if not included in the score), translation (if not in English), and a resume, curriculum vitae, or program biography.
• See rules for complete submission instructions.


 Northern Contemporary Collective
Summary:Call for artists
Deadline: 01 June 2017
Date Posted: 12 April 2017
Details: The Northern Contemporary Collective was founded in 2017 and is made up of some of Yorkshires finest young professional musicians.

The aim of the collective is to bring innovative and collaborative performances across the creative arts, challenging audience perception and enhancing imagination through various art forms.

The collective is made up of the following instrumentations.

Flute (inc Piccolo and Alto Flute)

Oboe (Inc Cor Anglais and Bass Oboe)

Saxophone (Soprano, Alto, Baritone)

Trombone (inc Bass Trombone)

Violin (Inc Electric Violin)

Cello (Inc Electric Cello)

Bass (Upright and electric)

Guitar (Classical & Electric)

Orchestral percussion (various)

Piano (Keyboard and Synth)

Multimedia (Video, tape, live art, pre-recordings ect.)



Classical, Contemporary Classical, Jazz, Contemporary Jazz. Pop, Film Music, Minimalism, Graphic Score, Neo-Baroque, Avant-Guard, ect.=

The NCC are looking for composers, artists, dancers, videographers, photographers and writers to collaborate with, for works with a variety of instrument combinations, varying from solo to dectet

Please submit any proposed drafts to

 Echo Chamber: Call for Scores
Deadline: 15 July 2017
Date Posted: 12 April 2017
Details: We’re very excited to announce our first Call For Scores, for the 2017 – 2018 season! There is no application fee and no age limitation for this opportunity. Echo Chamber will select one grand prize winner to receive a world premiere of their new work in the spring of 2018 as well as a $250 honorarium.

The submission requirements are as follows:

• 2 – 3 representative scores with recordings that showcase the applicant’s skill and unique voice. The composer’s name must be present on all materials submitted.
• At least 1 score must be for any medium-sized chamber group. Applicants are encouraged to submit a diverse portfolio of works that demonstrate orchestrational skill.
• Live recordings are strongly encouraged; at least one submitted work must be accompanied by a live (or studio) recording, and the others may be MIDI realizations if necessary.
• One 250 word-maximum statement that describes the proposed commissioned work and why it would be suitable for Echo Chamber.

Composers will be judged on the uniqueness of their voice and their orchestrational skill. It goes without saying that submitted scores should be the best representation of the composer; this extends to the appearance of the score itself, which should demonstrate the composer’s professionalism.

The winning composer will write a new work for the group (clarinet, piano, percussion, violin, cello, bass) of between 8 and 16 minutes. The new work will only be written for the entire group to play (no subsets). (Multiple movements using various subsets are allowed—this can be clarified upon announcement of the winner.)

Completed applications are due no later than July 15, 2017. Applicants will be notified of results by August 15, 2017. For the selected composer, the complete work will be due in draft format by January 1, 2018, with a workshop with the full group to follow thereafter. The premiere will take place in spring of 2018 in New York City, along with a concert of premieres by Brian Petuch and Conrad Winslow.

The winning composer will receive an honorarium of $250 and a live recording of the premiere of the piece. Composers will be invited to attend a workshop and rehearsals; composers who are unable to attend are encouraged to be present digitally. Unfortunately, Echo Chamber is not able to provide any travel accommodations.

Please send all submissions with the subject line CALL FOR SCORES SUBMISSION to echochambernewmusic (at) gmail (dot) com. Any questions may be directed to the same address.

We can’t wait to hear your music!

Summary:Opera Opportunity
Deadline: 08 May 2017
Date Posted: 12 April 2017
Details: Second Movement is pleased to announce a call for proposals for

rough for opera #16 | 09.10.17 | The Cockpit

Applications close at 6pm on 8th May 2017


About | rough for opera #16

rough for opera is a platform for new opera, curated and produced by Second Movement.

rough for opera is a scratch night: it’s particularly suited to new work receiving a first test performance and to showings of work in development. An important part of each rough for opera is for participants to receive feedback about their work at an early stage in its development. This is obtained in two ways, through audience feedback forms and through the Q and A after each performance.

rough for opera takes place at The Cockpit Theatre in London, SW8 8EH

The first rough for opera was in October 2011. Since then it has platformed more than 40 new operas and operas in development. You can find further information about all past events, participants and works programmed on this site.

Who can apply?

We welcome proposals for new opera and voice based work for the stage from composers, librettists, directors, performers or any other opera makers at any stage in their careers.

New proposals from previous applicants are welcome.

Guidance for Proposals

Works must be previously unperformed and between 10 and 30 minutes duration.

You can apply with either a complete work or extracts.

Your work can be in development: rough for opera is a great place to try out new ideas.

Works must be previously unperformed and between 10 and 30 minutes duration.

rough for opera is an opportunity to present your work in a theatrical context. We encourage participants to make use of the facilities and technical support available at the Cockpit for their performance and will ask you to let us know about your ideas for staging your work at rough for opera in your proposal. There is more information about this in the section How to Apply below.

You must be available in London on 9th October, the day of the performance.

Please note proposals for concert performances are not eligible for this Call for Proposals.

Three proposals will be programmed for presentation on 9th October 2017.

What’s provided?

*The Cockpit Gateforth Street, London NW8 8EH, a black box studio theatre with a large 9msq performance area in thrust layout.

*2 hour technical rehearsal in venue with technician and stage manager before evening performance.

*A piano, music stands and music stand lights.

*Full use of Cockpit’s technical facilities (including lighting, sound and video) with support of The Cockpit’s in house technician. The Cockpit’s tech spec is here

*publicity and ticket sales.

*tailored support and guidance from Second Movement to help you realise your aims for your performance and feedback after your performance.

* All performances and q and a’s are filmed for your future use.


Each participant receives financial support of £300 toward performance expenses eg performer travel, instrument hire, rehearsal space, (payable after the event on receipt of relevant invoices).

Performers and Additional Rehearsals

Please note participants are responsible for sourcing and managing their own performers and arranging their own additional rehearsal time and space.

How to Apply

Send the following to

Proposal: On one PDF Document please

*A 200 word max outline of your work to include synopsis, details of performer forces and how you think you and your work would benefit from taking part in rough for opera.

*A 100 word max outline of your ideas for a simple staging of your piece at rough for opera.

notes: We’re interested in how you plan to use your performers and the stage and theatre facilities to tell your piece’s story. You might include some ideas for simple lighting, costumes or small props. Previous directing experience is not necessary and you do not need to have a director or designer in your team to apply. Our aim is for you to explore the potential for your work on the stage. Guidance will be available throughout the process to support you in developing and realizing your ideas.

*A 200 word max composer biog. Please include details (where applicable) of any previous works for the stage and/or previous experience of staging your work.

*weblinks and any passwords needed to 3 examples of your work (e.g. soundcloud/vimeo/youtube: audio or video, no files please) and where available to include at least one piece for voice.

*A 100 word max biog for your company (if you have one) or of the main person making your application if not a composer.

*Names and contact details of 2 referees.

Shortlisted candidates will be notified week beginning 22nd May and invited to interview (London/Skype) during week beginning 5th June.

No scores or music files please at this stage.

We will contact you if we need any further information.


Applications open 24th March.

Applications close 6pm 8th May.

Shortlisted applicants notified week beginning 22nd May

Shortlisted applicants’ interviews (in London / skype) week beginning 5th June.

Decisions by 19th June.

If you have any queries before making an application please contact us at

Please note we are unable to advise on the suitability of or provide feedback on individual proposals.

Summary:Team composition call
Deadline: 28 April 2017
Date Posted: 12 April 2017
Details: DEADLINE: FRIDAY, APRIL 28, 2017

We’re thrilled to announce our first call for collaborators! But here’s the thing…

We believe in advocating for our colleagues and promoting their music. Yet most calls for scores are a winner-take-all scenario. Usually the fees, ranging from $5 to $25 or more, cover the prize with the rest of the money going into the ensemble’s general fund.

We’re doing things a little differently.

First, there is no application fee. If we can’t provide a prize, you shouldn’t have to pay for it. But that doesn’t mean that the music shouldn’t be performed.

(You should know we are all volunteers. We donate our time, skills and money because we believe that now, more than ever, new voices need to be heard.)

Second, composers will apply in teams. The applicant will propose a new piece they want to write (we’ll premiere it) and two existing works by their colleagues. We’ll play all three pieces together in Portland and Seattle during our 2017–2018 season.

Finally, the selected team will be announced by June 1, 2017. Even if your proposal is not selected this year, we will keep your music in mind for future concerts.

Questions? Please read the guidelines and the frequently asked questions carefully. If your question isn’t answered, please send us an email at

Thanks for your interest in collaborating with Sound of Late! We look forward to listening to your music.


We’re thrilled to announce our first call for collaborators! But here’s the thing…

We believe in advocating for our colleagues and promoting their music. Yet most calls for scores are a winner-take-all scenario. Usually the fees, ranging from $5 to $25 or more, cover the prize with the rest of the money going into the ensemble’s general fund.

We’re doing things a little differently.

First, there is no application fee. If we can’t provide a prize, you shouldn’t have to pay for it. But that doesn’t mean that the music shouldn’t be performed.

(You should know we are all volunteers. We donate our time, skills and money because we believe that now, more than ever, new voices need to be heard.)

Second, composers will apply in teams. The applicant will propose a new piece they want to write (we’ll premiere it) and two existing works by their colleagues. We’ll play all three pieces together in Portland and Seattle during our 2017–2018 season.

Finally, the selected team will be announced by June 1, 2017. Even if your proposal is not selected this year, we will keep your music in mind for future concerts.

Questions? Please read the guidelines and the frequently asked questions carefully. If your question isn’t answered, please send us an email at

Thanks for your interest in collaborating with Sound of Late! We look forward to listening to your music.

• Submit a representative work scored for 2-8 instruments.
• Provide a link to a recording of the work. MIDI realizations will not be accepted.
• Write a brief proposal (300 words max) outlining a proposal for a new work.
• The instrumentation of the proposed work must use 3-7 instruments drawn from the following: flute (dbl. picc/alto), clarinet (dbl. bass), horn, violin, viola, cello, double bass.
• Provide scores and recordings to two existing pieces by two of your colleagues using our primary instrumentation in any combination: flute (dbl. picc/alto), clarinet (dbl. bass), horn, violin, viola, cello, double bass.
• Write a brief description (150 words max) outlining why you selected the two pieces by your colleagues. Your focus should be on the program you are proposing (premiere and two existing piece). What makes this program unique or compelling?
• Open to US and international composers.
• All composers must be at least 18 years old.
• Postsecondary, undergraduate students third year and above, and graduate students may also apply.
• First or second year undergraduate students and high school students are not eligible to apply.
Evaluation Criteria
• Artistic quality of the submitted scores and recordings.
• Overall strength of the proposed program.
Selected Team
• The selected composer will write a 5-12 minute piece for 3-6 instruments from the following — flute (dbl. picc/alto), clarinet (dbl. bass), horn, violin, viola, cello, double bass.
• The selected team will receive performances in Portland and Seattle during Sound of Late’s 2017–2018 season.
• The selected team will be required to provide PDF scores and parts for the ensemble.
• An agreement will be sent to the selected team outlining deadlines and granting a two-year exclusivity to Sound of Late to perform the new work.
Questions? Please read the guidelines and the frequently asked questions carefully. If your question isn’t answered, please send us an email at Thanks!


 Eklekto Geneva
Summary:Call for Projects
Deadline: 01 May 2017
Date Posted: 12 April 2017
Details: Eklekto Geneva percussion center invites composers and sound artists to submit a proposal for a new work for percussion trio. The theme of the call is:


In today’s society, the concept of gathering is increasingly discussed. The social networks bring the idea of group memberships, but also that of some kind of isolation. Today’s news makes people gather and encourages solidarity and movements of opposition. But at the same time, it creates divisions and disparities. Globalization allows the creation of groups which function beyond political and geographical boundaries; however, the concepts of nationalism and populism are constantly bringing new followers. How do we gather today? How do we consider ourselves as individuals towards groups?

Eklekto would like to discuss the notions of gathering and solitude through musical proposals that reflect this theme, handle it either concrete or more abstract.

The Call for Projects is open to composers and sound artists born after 01.03.1982, coming from Switzerland and the rest of the world.

A jury of professionals will judge the proposals and choose three projects to be realized by Eklekto at l’Abri- Espace culturel pour jeunes talents, in Geneva, on November 4th 2017.

Deadline for submitting : May 1st 2017


 Music Library Seek Production Tracks, Evolution Media Music
Summary:Contibute to Albums
Deadline: 10 June 2017
Date Posted: 04 April 2017
Details: Location: South East
Type: Part time
SalaryPaid: (£10k-15k pro rata)

We at Evolution Media Music are seeking high quality production music for a number of our upcoming albums. Submissions for these albums should be on brief and have a level of compositional, and production quality, that is on par with the industry.

Submissions should include a streamable link to a cloud site (dropbox,, etc) as well as information regarding which album the track is being submitted for.

Please refrain from sending demos or tracks that are not relevant to the briefs.


Available briefs:

The Piano Works Classical - 15/03/17

Emotive String Quartet -15/03/17

Club Pop - 15/04/17

Minimal Synth -28/04/17

Christmas Covers - 28/04/17

Classics Reimagined - 28/04/17

Lullabies & Rhymes 28/04/17

The Blues 01/05/17

Punk Pop -01/05/17

America -17/05/17

Post-Rock Panorama -17/05/17

Minimal Folk - 17/05/17

Celtic Punk - 01/06/17


 Quince Contemporary Vocal Ensemble
Summary:Soprano Voice Trio/Quartet Call
Deadline: 05 June 2017
Date Posted: 04 April 2017
Details: Quince Contemporary Vocal Ensemble - Call for Scores

Seeking works for 3-4 adult treble voices, under 7 minutes duration, composed after Jan 1, 1993, and which have already received a premiere. No submission fee; no demographic restrictions; one submission per composer. Selected works will receive one public performance and a live recording. For complete guidelines and to submit, visit

*No Submission Fee!
*Must be a piece that has already been premiered (You will be asked to please provide date and performing ensemble info for first performance)
*3-4 adult treble voices (SSA, SAA, SSSA, SSAA , or 4 unspecified voices)
*Only 1 submission per composer
*Less than 7 minutes
*No language restrictions
*Graphic scores welcome
*Electronics are welcome but no engineer should be required
*No instrumental accompaniment
*Open to any composer regardless of residency or immigration status
*Open to any composer regardless of age, gender, race, or orientation
*Must have been composed and premiered within last 25 years (after Jan 1, 1993)

*Selected Pieces/Composers will be granted one public performance and composer will receive recording from live performance.
*Composer will be listed and promoted in public performance materials.
*Composer will not be required to be at performance (although you are more than welcome to come, but we unfortunately cannot cover travel)

*Deadline: June 5, 2017
*Results will be announced in July 2017!

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.

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

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.


 Royal Scottish National Orchestra
Summary:Competition for Young Composers
Deadline: None
Date Posted: 04 April 2017
Details: In partnership with the National Trust for Scotland, the Royal Scottish National Orchestra is inviting young composers, aged 12 - 18, to write a two - five minute piece of music for an instrumental trio, quartet or quintet of their choice inspired by one of five examples of the country's most incredible landmarks.

• Culzean Castle, Ayrshire
• Glencoe, The Highlands
• Hill House, Argyll & Bute
• Newhailes, Edinburgh
• House of Dun, Angus

Schools workshops will be held at each of the sites. They will be delivered in two parts (1) working with professional Scottish composer Jennifer Martin to find out more about writing music to a theme and (2) a tour of the property by NTS staff to discover the stories each site holds, which will provide the inspiration for the young composers.

Places on each of the workshops are free to those not enrolled in invited schools but must be booked in advance.

This can be done via email: or call 0141 225 3557.

The overall winner will be announced on Saturday 17 June 2017 at the RSNO New Home Auditorium in Glasgow Royal Concert Hall during a live final, where all five semifinalists will have their pieces performed and recorded.

Sign up below to be added to the competition mailing list...

 COSI Opera Composition Program
Summary:Opera Composition
Deadline: 30 June 2017
Date Posted: 04 April 2017
Details: Program Dates: July 11-20

COSI 2017 is pleased to offer its Opera Composition program, directed by Dean Burry, in combination with members of COSI’s magnificent artistic teams.
Apply for the COSI Opera Composition program via COSI’s YAPtracker link.
In receiving your application for the program, you will then be contacted by us to submit two examples of your compositions. Vocal and/or instrumental pieces are welcome, though examples of previous operatic writing are encouraged.
Successful applicants will:

• Submit a vocal composition or opera scene before the program.
• Collaboratively create a scene while at the program.
• Receive a final public presentation and recording.

Get back to your roots! In the last 400 years, opera has evolved into an incredibly rich and varied art form, drawing inspiration from cultures the world over. But it all started in Italy. The Opera Composition program allows both new and experienced opera composers to develop their own contemporary opera skills while drawing inspiration and guidance from the exceptional singers, collaborative pianists, directors and designers of the COSI program, all within the beautiful setting of the two thousand-year-old city of Sulmona. As part of the intensive one-week program, composers will have the opportunity to compose and workshop two complete opera scenes, attend masterclasses in vocal writing, dramaturgy and the libretto, building a career in the opera field. In addition… Enjoy a trip to Rome and a performance of one of Italy’s iconic operatic works at the Teatro dell’Opera di Roma.

The Opera Composition program includes:
• Vocal masterclasses that will inform about writing for the voice, and the particular considerations for each voice type and differences within those voice types (writing for different kinds of sopranos, for example).
• Dramaturgy and the libretto – how to work with a libretto or consider writing one.
• Building a Composing Career in Opera
• Elements of Design
• Private composition lessons with Dean Burry.

Enrollment is limited. To inquire further about submitting your compositions as part of your application to COSI’s Opera Composition program, contact:

Tuition information is on the “Costs” page.


 Toronto Chinese Orchestra 2018 Composition Competition
Summary:Opportunity for Canadian Composers
Deadline: 15 July 2017
Date Posted: 04 April 2017
Details: Background
The Toronto Chinese Orchestra (TCO) is proud to announce a composition competition. This competition seeks to connect emerging Canadian composers with Chinese orchestral music in order to produce a new composition. Winning composer(s) will have their work premiered during the TCO’s 2017|2018 concert season, at their 25th Anniversary Gala Concert in June 2018.

The competition is open to emerging Canadian composers (citizens or permanent residents). There are no age restrictions. Jurists, TCO artistic leadership, and TCO board of directors are ineligible to apply.

Application Process
Applicants to submit, by July 15, 2017:

A completed application form (PDF)
A curriculum vitae detailing compositional background and, if applicable, compositions that have been performed, recorded, or published;
PDF of a compositional excerpt, between 2 to 3 minutes long, demonstrating proposed compositional ideas. The excerpt should be written for an ensemble of 7 musicians consisting of all the following instruments: dizi (笛子), pipa (琵琶), zhongruan (中阮), gaohu, (高胡), erhu (二胡), cello, and bass. Please make sure that there are no personally identifying features on the score (e.g., name). Composers seeking information regarding score layout, ranges, notation, and techniques for these instruments can consult the Resources section of this page.

An accompanying recording of the excerpt as MP3, if applicable. MIDI is acceptable.

A jury comprised of TCO artistic leadership and international guests will judge the applicants based on their excerpt. The adjudication will be done blind: a number will be assigned to each application package, and jurists will not have access to applicants’ identifying features until after decisions have been made. Jury decisions are final.

Winner(s) will be announced by September 15, 2017, and will be commissioned to write a work of approximately 10 minutes for the TCO. The final composition will likely be based on the excerpt, although this is not absolute. The TCO will also work with winner(s) to write a commissioning grant, and will provide coaching from the jury throughout the compositional process. Scores and parts should be ready by March 1, 2018.

Commissioned pieces will be premiered at the TCO’s annual concert in June 2018.

Winner(s) will receive:

An archival recording of the performance
An honorarium of $200 (more depending on outcome of commissioning grant)
Completed application packages should be sent electronically to Please include any audio/video as links to streaming sites (e.g., YouTube).

 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

$1000 and a New York City performance*, possible nomination to the next World Music Days


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

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

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.

 SaM Summer School 2017
Summary:Summer School for Young Composers
Deadline: None
Date Posted: 04 April 2017

We are delighted to announce that applications to the SaM Summer School are now open!

The SaM Summer School is a unique weeklong course for 14-18 year olds who want to create new and original music.

DATES: 30 JULY - 5 AUGUST 2017


"Without this course I would never have realised that I could be a composer."

Now in its ninth year, the celebrated SaM Summer School, is the only residential course of its kind in the UK for young creators and composers aged 14-18, devised by Sound and Music the national charity for new music, in partnership with The Purcell School of Music.

Our Summer School gives you an opportunity to explore and develop your musical ideas, be inspired by your peers and try new areas of musical creation; from composing for film to writing for voices – you can stretch your imagination and ours too.

You will spend a week at the world renowned Purcell School of Music with 75 other young composers, working with the most talented tutors and professional musicians in the UK today; from new media to jazz and everything in between, you will be surrounded by a wealth of experience and expertise.


"I was around such talented individuals that I felt more inspired to create something great."

At SaM we aim to challenge perceptions and encourage creativity – we love to hear and share new music, and innovative approaches and thinking.

During the residential, you will be able to work in your own style of music-making, whilst also working with other composers and musicians to explore new and different ways of making music; from experimental vocal to conventionally notated.

At the end of the week, your new musical creation will be performed at a live, preview event, plus you will receive a recording of the piece of work you have created!


“The tutors were all so professional and treated us with so much respect. They were so inspirational”

SaM Summer School takes place (30 July – 5 August) at The Purcell School for Young Musicians, the oldest specialist Music School in the UK based in Bushey, Hertfordshire; where you will eat, sleep and create alongside your new friends.

You can get to the Purcell School by train or car and we will send full details and directions to everyone who is participating. A minibus shuttle service will also be operating during the week between Watford Junction station and the school.

On Friday evening and Saturday, preview performances will take place for friends, family and guests – to hear what you have created and celebrate your experiences.


“One of the best things I’ve ever done in my life”

If you are a talented young composer, enthusiastic about learning and interested in joining us, we would love to hear from you!

 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
• 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.


 Irish Composition Summer School 2017
Summary:Composition Course
Deadline: 09 June 2017
Date Posted: 04 April 2017
Details: COMPOSITION COURSE July 5th - 14th €350
Observer: €30 per day

This entitles participants to attend lectures and workshops only. Observers should fill in the form on this brochure and write a cover note marked ‘observer’ indicating the number of days they wish to attend.

The Irish Composition Summer School started as the Ennis Composition Summer School, founded in 1983 by John Buckley, and has been responsible for over thirty years of excellence in composition teaching by Irish and international composers. Previous directors have included James Wilson, John Buckley, Grainne Mulvey and Michael Alcorn. A majority of the most successful Irish composers of the last three decades have attended the Summer School. It has provided them the opportunity to work with leading names in composition—including Bent Sorensen, Poul Ruders, Christopher Fox, Liza Lim, Kevin Volans, Simon Bainbridge, Michael Finnissy, Jo Kondo, Clarence Barlow and Laura Schwendinger—and in performance, including Collette McGahon, Sylvia O’Brien, the Prey Trio, Jane Manning, the Fidelio Trio, the ConTempo Quartet, the Clarion Horn Trio and the Robinson Panoramic Quartet.

The ICSS would like to thank the DIT Conservatory of Music and Drama for the generous hosting of the Summer School in 2017.

ICSS is on Facebook:

Please enclose the following with your application:
1. A brief summary of your experience in composition and a list of any works composed
2. The name and contact details of one referee who may be contacted to report on your composition or experience

Completed applications should be sent to the address below by Friday, June 9th 2017. Applications can also be sent by email.

Dr John McLachlan, Irish Composition Summer School, Ballyargus, Redcastle, Lifford, Co. Donegal email,
Ph/fax 074 9383734

Course directors will assess applications, and applicants will be contacted within one week of closing date. 50% of fee will be due by June 23th 2017.

This year’s school will offer a range of lectures, presentations and demonstrations on all aspects of contemporary composition, focusing on contemporary writing for any combination of the available forces (trumpet, cello, percussion and piano) with optional electronics.

At the end of the course, the students’ works will be presented in workshop, rehearsed and digitally recorded by the performers. Throughout the course, students will receive guidance from experienced course directors and nationally and internationally renowned composers. This year, the ICSS is delighted to welcome two Guest Directors, Simon Mawhinney and Ann Cleare, who will present seminars on their own work, as well as giving individual tutorials to the students.
Due to the short duration of the course students are expected to come with some sketches/ideas prepared.

Please note the course does not provide accommodation.

The course involves a great deal of individual tuition and so is suitable for a range of students from postgraduate, to graduate, to Leaving Certificate students (aged 17+) taking contemporary composition as an elective.

The course involves a combination of one-to-one tutorials with the participating composers, and group seminars. These will cover the major aspects of contemporary composition such as harmony, rhythm, formal structure, the use of music technology and instrumental writing.

 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).


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.


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.


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 web- site by August 20, 2017.


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:


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
IBAN: IT85 N062 8524 120C C020 8000 370


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.


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.


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

 Orchestra Composition Contest
Summary:Chamber Orchestra Call
Deadline: 01 July 2017
Date Posted: 28 March 2017
Details: Indiana State University Contemporary Music Festival/
Indianapolis Chamber Orchestra Composition Competition

Call for Scores
Application deadline: June 1, 2017

The 51st Contemporary Music Festival, sponsored by the Indiana State University School of Music, proudly announces the Indianapolis Chamber Orchestra Composition Competition. Submitted compositions will be judged by a screening panel chosen by the Indianapolis Chamber Orchestra. The Festival is scheduled for October 25–27, 2017.

The Indiana State University Contemporary Music Festival/Indianapolis Chamber Orchestra Composition Competition was established to recognize outstanding music composed for the small orchestra. In addition to a monetary prize, the composer receiving first place will be invited to attend a performance of the winning composition by the Indianapolis Chamber Orchestra as part of the Festival’s activities. The winner also will be invited to speak at the Festival on a topic relating to his or her music. Other guests featured at the three-day Festival include the Principal Guest Composer, Narong Prangcharoen, the guest ensemble, and composers participating in the Music Now concert. Since its beginning, more than 200 established and emerging composers—including eighteen winners of the Pulitzer Prize and five winners of the Grawemeyer Award—have participated in the Festival.

Contest Guidelines

Cash Prizes:
First Place - $1,000


There are no restrictions regarding the age or gender of the applicant. Contestants must be citizens or legal residents of the United States. Winners of the competition within the last five years are not eligible.


Standard chamber orchestra scoring (2[pic]2[Eh]22, 2210, timpani, 1 percussion, piano, harp, and strings 6–4–4–3–2). Scores that will not be considered include condensed or significantly reduced scores and scores that include soloists or extra instruments.


Compositions may not exceed 15 minutes in length.

Materials for Submission:

A composer may send one score with a corresponding recording (MIDI realizations are acceptable). Large, neat, proofread parts must be available upon request. The composer’s name may not appear on the submitted materials. A sealed envelope containing the composer’s name, address, phone number, and e-mail address should be attached to the score. A summary of the necessary instrumentation and an accurate timing should be included with the entry.


There is a non-returnable entry fee of $20 U.S. currency per entry. Make checks payable to the Indianapolis Chamber Orchestra.


A panel of judges will be chosen by the Indianapolis Chamber Orchestra. Each judge will be a performing instrumentalist, conductor, or composer and each will evaluate all scores separately and make a short list of works to be considered further. The judges will then meet with the Music Director of the Indianapolis Chamber Orchestra where the short list of works will be discussed and a final decision made. The judges will not make available any written or verbal commentary.


All scores must be received by June 1, 2017. Winners will be announced by August 1, 2017.

Send Submissions To:

Indianapolis Chamber Orchestra
4603 Clarendon Road, Suite 36
Indianapolis, IN 46208

Additional Information:

Dr. Kurt Fowler
School of Music
Indiana State University
Terre Haute, IN 47809

Materials will be returned only if accompanied by a self-addressed stamped envelope. While The Indianapolis Chamber Orchestra will make every effort to protect and return materials, the orchestra assumes no responsibility for loss or destruction of submitted materials.

A PDF of this call can be downloaded HERE.

 IGNITE: The C4 Commissioning Competition 2017-18
Summary:Choral Commission
Deadline: 01 May 2017
Date Posted: 28 March 2017
Details: IGNITE, C4’s Commissioning Competition, will give three finalists the opportunity to compose new works for C4: the Choral Composer/Conductor Collective. All three pieces will be premiered in June 2018, in New York City. Prior to the performance, first, second, and third place winners will be chosen, with awards of $1,500, $1,000, and $600 respectively.

About the ensemble
C4 exists to enrich artists and audiences alike, through passionate advocacy of new choral works, performing pieces written within the last 25 years, premiering and commissioning new choral works, and mentoring emerging singers, composers, and conductors of today's choral music. C4 is collectively run by its members, and is one of the few choruses in America dedicated exclusively to performing contemporary music. C4 performs adventurous contemporary programming at a professional level, with stipends to its members making it a semi-professional ensemble. In addition to presenting the music of its own composer members, C4 programs the music of other emerging composers along with that of more established composers, filling an important niche in the cultural life of New York City.

Competition guidelines

Any composer may apply, regardless of age, career level or nationality. C4 welcomes stylistic diversity and encourages composers with fresh ideas in choral writing. Submitted works will be judged according to the following criteria:
1 Freshness/originality of ideas
2 Proficiency in choral writing
3 Sensitivity to/skill in setting text
4 Clarity of notation
Current C4 members, former C4 members who were in the group within the last 8 years, and former C4 commissioning competition winners are not eligible.

Composers should submit materials electronically, as explained below, by May 1, 2017. A panel of judges, consisting of C4 members, will select approximately twenty semi-finalists. A second panel of distinguished judges from outside of C4, consisting of James Bassi, Tarik O’Regan and Bruce Saylor, will select three finalists. The finalists will be notified by August 1, 2017.

The finalists will then compose new works for C4, to be completed by January 1, 2018. The works should be a cappella and between four and seven minutes in length. If using text, composers must show proof that rights have been secured, or that they are in the public domain. Winning pieces must clearly state “Commissioned by C4: The Choral Composer/Conductor Collective as part of the 2017-18 IGNITE competition.”

Prior to the performance, the distinguished panel of judges will review the commissioned pieces and select first, second and third place winners. The finalists will be notified of which designation they receive before the premiere of their works. All three commissioned works will be premiered by C4 in early June 2018, in New York City.

Finalists are expected to remain in active communication with C4 throughout the composition process. Finalists are encouraged to attend rehearsals and/or listen to rehearsal recordings. They may also revise their compositions during the process as they see fit. C4 rehearses on Thursday evenings in Midtown Manhattan and will begin rehearsing the commissioned works in March 2018.

Both concerts will be recorded and the composers will receive copies. All finalists are strongly encouraged to attend one or both performances of the commissioned works. A travel stipend of up to $500 per composer will defray the cost of travel for the winning composers; all additional travel costs are the responsibility of the composer. Accommodations with C4 members will be provided as needed. The finalists should submit receipts for all of their travel expenses to C4’s treasurer, by one week following the concerts.
C4 reserves the right to perform the commissioned works indefinitely.
The commissioned works may not be premiered by another ensemble in advance of C4's June 2018 performances.

Mentoring session
When the finalists come to New York City for the premiere, they are eligible to receive one mentoring/professional development session with one of the three distinguished judges. They will be set up by C4 and will be at the convenience of both the judges and the winners.

How to apply
Online entry is at the IGNITE Entry Form
Please submit the following by May 1, 2017:
Two (2) recent contrasting works.

- One must be for a cappella chorus representing the composer’s current style or approach. This piece may be for any choral voicing and an unlimited number of parts.
- The second work should be a contrasting choral work, if possible. If the applicant does not have a second choral work to submit, a non-choral work will be accepted, with a preference for a vocal work of some type.
Submitted scores may be published or unpublished, previously performed or yet to be premiered.

Both scores must be in PDF format, and must have the composer’s name and identifying marks removed; this also includes any identifying marks such as a publishing company owned by the individual, the name of the performing ensemble or dedications.

Recordings of the submitted works should be in be in mp3 format. MIDI recordings will be accepted provided that they have been converted to mp3 format. The composer’s name must not appear in the audio file names. Recordings are optional but strongly encouraged.

Administrative fee
There is a $10 administrative fee which should be paid by PayPal during the submission process.

Please contact if you have any questions!

 The Wyoming Festival - New Music in the Mountains
Summary:Festival Call for Fellows
Deadline: 01 May 2017
Date Posted: 28 March 2017
Details: The call for composer participation is out today! Please share with your composer friends:

The Wyoming Festival Call for Composer Fellows

Deadline for receipt of application: Monday May 1, 2017

Festival duration: August 2 – 11, 2017

Festival location: Grand Teton National Park, UW-National Park Service Research Station, Wyoming, USA

Application Fee: $15 administrative fee

Festival attendance fee: $800 ($300 of this fee is a non-refundable portion to be paid upon acceptance to reserve your space.)

The Wyoming Festival is a 10-day new music festival devoted to the creation of concert music in a wild and natural setting at the AMK Ranch (UW-NPS Research Station in Grand Teton National Park. Six Music Composition Fellows of all levels (minimum age 22) from across the globe will be invited to work with world-class musicians to create new music in celebration of the National Park. The theme for 2017 is the Solar Eclipse—we encourage composers to get inspired by the eclipse, astronomy, science/nature/ecology of the Parks, especially Grand Teton NP.

1. The Composition Fellows will be invited to discuss the field of new concert music and composition, practice listening in a natural setting, compose using science and nature as source materials for new music, meet musical guests, and share their music with listening seminars. The Fellows will work with accomplished composers Forrest Pierce (, Anne M. Guzzo (, and professional chamber musicians from the Grand Teton Music Festival Orchestra, led by Chamber-Artist-in-Residence Holly Mulcahy, ( The resident ensemble is a string quintet: 2 vl,vla,vc, and cb. Composers will be writing for any combination from that ensemble from solo to quintet. The Wyoming Festival will host a concert of Fellows’ music at Grand Teton National Park and in the community of Jackson, WY.

Applicants should be interested in developing a shared new music community for future collaborations and making lifelong connections. Those with interest in nature and ecology are especially encouraged to apply.

Composition fellows will be co-housed (dormitory style) at the historic AMK Ranch in the Lawrence House and will prepare their own food or go to nearby park restaurants. Shared living amenities include a living room, meeting space, bathrooms, and kitchens. Laundry, groceries, and other Park amenities are a short distance away and Fellows will have access to these services.

To Apply: please e-mail the following to:
1. Your name, address, e-mail, and phone number.
2. Either a .pdf of the score for an existing piece you would like to have performed for any combination culled from a string quintet (2 vl, vla, vc, cb) OR a .pdf of a piece that represents your string writing, should you wish to compose a new work. If you choose the second option, upon acceptance, your deadline for a new piece will be June 26, 2017. Duration of work sample audio and pieces should be no longer than 7 minutes for either option. Excerpts of individual movements from a piece are acceptable.
3. A link to a recording of the piece you have submitted (A MIDI .mp3 is acceptable if no performance .mp3 is available.)
4. A brief bio (please note, we are accepting ALL levels of composers, including students and professionals.)
5. $15 administrative fee to AMK Ranch.
6. The name and contact information for a personal/professional reference we may call or e-mail.
7. Optional – tell us about your interest in nature/science/ecology or your interest in the Wyoming Festival’s unique location.

Checks can be made out to:
UW – NPS Research Station (put “Wyo Fest” in the memo line) and send to
Bonnie Robinson
UW-NPS Research Station
1000 E. University Ave. Dept 3166
Laramie, WY 82071

Online payments: To pay the administrative fee online, go to the UW National Park Service Research station:

1. Use the Wyoming Festival tab
2. For Description: Use “WY Fest Administrative Fee ” followed by your full name.
Example: WY Fest Administrative Fee - Jane Deer
3. For Amount Due: Use “15.00”

For questions or more information, e-mail

 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
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 or (605) 274-5402.

Summary:Guitar workshop
Deadline: 15 July 2017
Date Posted: 28 March 2017
Details: Instructors: Felipe de Almeida Ribeiro (Composition) and Eric Moreira (Guitar) Date: between November 2nd and 4th, 2017 (from 9am to 12pm)
Course credit hours: 9 hours

The Guitar Workshop for Composers will be lead by composer Felipe de Almeida Ribeiro4 and guitar performer Eric Moreira5, both members of the Ensemble Móbile6. The workshop features the examination of several issues on composition and interpretation, with a special emphasis on musical notation and extended techniques for classical guitar within the perspective of 20th and 21st centuries composers. Selected composers will have the opportunity to take lessons with both instructors (in English or Portuguese), and at the end of the workshop all compositions will be performer and recorded (audio and video) for the Symposium’s Proceedings.

1. Each selected composer will write one miniature for guitar. There will be 09 seats for active participants and 11 seats for passive participants.
2. Requirements: currently enrolled as undergraduate or graduate composition student.
3. There are no fees.
4. Applications must include:
a. Application form (at the end of this document);
b. Scores (pdf) and recordings (mp3 or video) of two recent pieces that better describe your current poetic and technical level. Note: the application process does not require the submission of the guitar miniature. We understand that this is a requirement only for selected composers.
5. Submissions that do not follow these instructions will be disqualified.
6. Please send your application to:

6. Miniatures must be written for classical nylon guitar (6 strings), with duration up to 2 minutes.
7. Workshop attendance is required.
8. The Symposium’s organization has no scholarships or traveling grants. However, we will be glad to send you an acceptance letter for grant applications in your country. We can also help finding student or homeshare accommodations.
9. After the workshop, audio and video recordings will be available at the Symposium’s Proceedings.
10. Please send the score of your miniature to:


July 15: Deadline for application (active and passive participants).
August 15: Selected participants notification.
August 15-20: Period to confirm attendance.
October 01: Deadline to send score (selected composers).
November 01-04 Begin of the IX Academic Guitar Symposium.

 2017 Call for Submissions
Summary:Electroacoustic Call
Deadline: 01 June 2017
Date Posted: 28 March 2017
Details: Lewis University and Kansas City Kansas Community College are pleased to announce an international call for submissions for the 17th Annual Electronic Music Midwest Festival, featuring SPLICE Ensemble, to be held September 21-23, 2017 at Kansas City Kansas Community College.

Each concert will feature an 8.1 speaker diffusion system. The acclaimed SPLICE Ensemble is the 2017 featured ensemble and composers are encouraged to submit works for their consideration. Any composer regardless of region, age or nationality may submit. Composers whose works are selected must attend and will be required to submit a $60 registration fee at the festival.

Composers are invited to submit one work for consideration. EMM accepts all electroacoustic works, but we especially seek music that falls within one of the following categories:

- Compositions for SPLICE Ensemble (piano, trumpet, and percussion) and fixed media and/or live electronics. Any subset of the ensemble will be considered, but preference will be given to works that include all three perfomers.
- Two channel works for fixed media
- Up to eight channel works for fixed media
- Instrument(s)/Voice(s) and fixed media or live electronics (composer to provide performers)
- Works that include video
- Sound Installations and Interactive Media (composer to provide all non-standard equipment) - Live Laptop works
- Live Interactive works
Deadline: June 1, 2017

Entry Fee: none

Submission Guidelines:
1) For consideration, applicants must register and complete an online submission form available at

2) For adjudication purposes, multi-channel works (up to 8 channels) must be submitted as a stereo mix and uploaded at The EMM 8-channel speaker array uses a front and rear center.

Composers whose works are selected for this festival are required to submit a $60 registration fee at the festival and must agree to attend the festival. Regrettably, EMM is not able to offer travel stipends or honorariums to festival participants at this time.

EMM is unable to consider works that do not conform to the guidelines outlined above.


 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


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.


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.


There are no fees to participate in the competition.


The following information and documents will be sent to

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!]

 American Opera Projects
Summary:Composer Programme
Deadline: 28 April 2017
Date Posted: 28 March 2017
Details: American Opera Projects (AOP) is proud to announce the return of its popular Composers & the Voice program for its 2017-2019 season. We will select 6 composers and up to 2 librettists for a two-year fellowship. The primary focus of Composers & the Voice is to give composers and librettists extensive experience working collaboratively with singers on writing for the voice and contemporary opera stage.

There will be a total of 15 workshop sessions between October 2017 and May 2018, working with the company’s Resident Ensemble of Singers and Artistic Team. The 2017-18 sessions also include courses for composers and librettists in acting, improv games, and libretto development.
There will be two public performances of work created during the series. In May 2018 there will be a concert performance of solo works written during the course of the workshop. In September 2018 there will be a culminating public performance of new scenes written during the summer.

During the 2018-19 season, AOP will provide continued mentorship and career guidance for its C&V fellows. Select C&V operas-in-progress will potentially receive continued development workshops, such as staged readings at The Manhattan School of Music (part of a fourteen-year AOP partnership), as well as with other partners.
The second year of the cycle will also include a new partnership with The Hermitage Artist Retreat that nurtures creativity in mid-career writers, painters, poets, playwrights, composers, translators, sculptors, and artists. A C&V Fellow (or Fellowship team) will be selected to receive a 6-week residency to continue opera development at the Hermitage’s Florida estate.

Workshop Schedule:
2017: October 11, October 25, November 8, November 15, December 6, December 20
2018: January 3, January 17, February 7, February 21, March 7, March 14, April 4, April 18, May 2.
All workshop sessions will begin at 2:00 and end at 10:00. All sessions will be in New York City.
All participants must be present for all of the workshop sessions.
First Glimpse Concert: May 18 & 19, 2018
Six Scenes First Chance Concert: September 28 & 29, 2018

AOP is encouraging applications from both composers and librettists working alone, and from composer/librettist teams. Composers and librettists applying jointly need not have prior collaborative projects. Please note: if a composer and librettist apply as a team, the panel reserves the right to select only one of the applicants for an individual fellowship.

Applications are reviewed and fellowships are selected by the C&V Artistic Director, the Director of Drama and Director of Music, and a panel of industry professionals.
There is no age limit for participation.
The fee for application is $50; there is no fee for participation.

There is no stipend for selected composers or librettists.
All participants must be in New York City for all workshop dates.

The application deadline is April 28, 2017. 
Notification of participants will be made by July 1, 2017.

 Call for Pieces
Summary:Choir and ensemble competition
Deadline: 01 June 2017
Date Posted: 25 March 2017
Details: Choir and improvising ensemble

We are looking for new compositions for jazz ensemble and choir for a small festival in Bern (CH). We are interested to explore the relationship between written and improvised music, between music that is programmatic through its lyrics and instrumental parts.

The choir is put into place for the festival and will feature amateur singers, standing on stage with ten jazz musicians in varying combinations.

Image a campfire atmosphere, songs about nature, loneliness or protest, rooted in an american tradition of blues, folk, jazz, combined with modern composition techniques and ideas.

- two works will be chosen and performed and recorded (audio/video) at the festival, winning composers will be rewarded 200£
- submitted works must be new, unpublished and not yet performed
- instrumentation: choir, alto and tenor saxophone, two guitars (acoustic or electric), piano. Works can feature either choir+saxophones, choir+guitars, choir+piano, choir+piano+guitars, or choir only. The choir consists of 10-15 singers (soprano, alto), choir parts should preferably be in unisono or two parts, in a comfortable range for amateur singers
- works should be between 1-5 minutes in length
- works can, but don't have to, include lyrics. Lyrics can be provided if needed
- scores must be submitted via e-mail (vignettiste (at), an administrative fee of 15£ will need to be transferred via Paypal
- additional information on

Deadline: June 1, 2017

 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

 Christmas Carol Competition
Summary:Carol Competition
Deadline: 31 May 2017
Date Posted: 20 March 2017
Details: The Hallé Choir is delighted to announce that our Christmas Carol Competition is now open. The winner will be the entrant whose composition, in the opinion of the judges, demonstrates originality and flair.

The deadline for receipt of entries is 1700 hours BST on 31 May 2017. Entries received after this time will not be considered.

• One entry per person only
• The composition (original music) must be written for performance by the Hallé Choir (i.e. SATB a cappella choir), and be not more than 5 minutes in length
• Open to UK residents born after 1st January 1987
• Entries may be sacred or secular, using new or existing text, but must be an original musical composition

▪ Matthew Hamilton – Hallé Choral Director
▪ Jonathon Heywood – Hallé Assistant Conductor
▪ Prof. Adam Gorb – Head of Composition, RNCM
▪ Merryl Webster – Chair, Hallé Choir

The winning entry will receive its first public performance by the Hallé Choir in a Christmas Concert in December 2017
The winning composer will be awarded a commission by the Hallé Concerts Society to write for the Hallé Choir, Hallé Youth Choir or Hallé Youth Orchestra, at the sole option of the Hallé Concerts Society
One winner will be chosen from the shortlist by the final judges. Results of the competition will be published in October 2017 on
The prize includes reasonable standard class travel to and from the December 2017 concert and, if necessary owing to distance, to one night’s accommodation for the winner and a guest. The accommodation will be on a room-only basis sharing one twin/double room. The travel method(s) and level of accommodation and exact location will be selected by the Promoter at its sole discretion and notified reasonably in advance to the winner.

Entrants should send 3 printed copies of their entry, along with full contact details, proof of age, and (if applicable) proof of permission to use any text in copyright, to:

Hallé Carol Competition
FAO Jo Pink,
Hallé Concerts Society
The Bridgewater Hall,
Manchester M1 5HA
Entries will be anonymised before being passed to the judging panel.

 Orchestre d’Auvergne Composition Contest
Summary:Choir Competition
Deadline: 31 May 2017
Date Posted: 20 March 2017
Details: The Orchestre d’Auvergne and the Orchestre des Pays de Savoie are organizing a composition contest for the creation of a participative piece for amateur singers. This will be a short piece for string orchestra and amateur singers. This contest is inviting composers of all nationalities and aged up to 40 years old at the due date of registrations. Deadline for submissions: 31st of May 2017. 1st Prize awarded by the jury: 3 000 € 2nd Prize awarded by the public: 1 500 € The winner’s composition will be recorded and performed.


 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

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.

▪ 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

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

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.


 Composition Competition for schools
Summary:Schools' Composition Competition
Deadline: None
Date Posted: 20 March 2017
Details: We’re excited to launch a Shakespeare-inspired Composition Competition for all registered schools, and the good news is that you don’t have to be a musical maestro to take part!

Pupils can create a soundscape for the Forest of Arden, a lullaby inspired by the fairies from A Midsummer Night’s Dream or a magical melody for Macbeth’s witches – in any musical style or genre. Specially commissioned resources from Birmingham Conservatoire will get you started on your musical masterpieces.

Five winning entries will be chosen to work with vocal leader Daniel Galbreath and will have the opportunity to perform a specially arranged version of their composition alongside musicians from Birmingham Conservatoire at a Celebration Concert in June.

For more information:


 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.


Noon Monday 14th August 2017 for costs between 1st April 2017 – 31st March 2018

 New Works Program
Summary:Chamber Orchestra Call
Deadline: 10 June 2017
Date Posted: 20 March 2017
Details: 2017 Composer Program Information
With the generous support from the McKnight Foundation, the Minnesota Sinfonia is pleased to announce a call for new and unpublished (chamber) orchestral scores. Five new works will be premiered during the 2017-18 season, with composers receiving compensation ranging between $500 and $6,000 – see below.

Guidelines/Requirements for eligibility:
• The submitted work must be a new, unpublished composition that has not been performed by a professional orchestra.
• Composers must be native born or current residents of the state of Minnesota.
• The work should be between five and eight minutes long (1- 2 movements).
• The instrumentation can be no larger than the following: 1 flute (no double to piccolo), 2 oboes (no doubles to English horn), 1 clarinet (A and/or B flat, no bass or e flat), 1 bassoon, 2 French horns, 1 trumpet, 1 timpani player ( 2 drums maximum) which can include ad lib percussion (drum set and a few auxiliary instruments ), violin I and II, viola, cello and bass – no divisis for any of the strings.
• If you include ad lib percussion, it, and the timp must be playable by one person, and the percussion is not needed to give a good rendition of the work.
• The work must include the full string compliment listed above, but does not necessarily have to use all of the winds and timpani.
• The work can be an arrangement of another of the composer’s compositions, but the original piece also must be unpublished, and not have been performed by professional musicians in concert settings.
• The music must be written in a “conservative” style, appropriate for a broad mix of audience members –Avant-garde and/or experimental writing are not acceptable.
• Score must be prepared and submitted in finale 2014 or earlier, or Sibelius 7 or earlier. XML versions of Sibelius files will be required.
• All winning compositions and the individual parts must be formatted in 8.5×11” pages. Formatting instructions will be provided.
• Previous recipients of this grant program within the past five years (2012 until the present) are not eligible to enter again.
• Four composers will be the recipients of this year’s awards. One composer will receive $6,000, and the remaining three composers will share $8,500, the amounts to be determined by the Sinfonia.

Deadline for entries is September 1, 2017
Additionally, $500 will be awarded to a “young composer,” meaning any composer who meets the above guidelines, and is under the age of 19 before January 1, 2017. Deadline for entry is June 10, 2017.
All decisions are made by Minnesota Sinfonia Artistic Director, Jay Fishman, and are final.
Enquiries and submissions should be directed to Jay Fishman, Minnesota Sinfonia at or by telephone at 612.871.1701

 CALL FOR SCORES | Compose yourself! Re-defining the Typical Composition Contest
Summary:Choir Competition
Deadline: 22 May 2017
Date Posted: 20 March 2017
Details: With support from New Music USA, MPLS (imPulse) is pleased to announce a contest for original music. Three compositions will be selected for performance in upcoming concert cycles; chosen composers will each receive a $1000 award.

About the ensemble:
• Fully-paid, professional ensemble. 24 voices equally distributed among SATB
• Singers are flexible and versatile

Score and Eligibility Requirements:
Our vision as an ensemble seeks to redefine the typical choral experience in a changing world. We encourage composers to embrace this vision and use the competition as an opportunity to challenge his/her compositional voice.

▪ Composers must currently live or have lived in Minnesota
▪ Scores must be approximately 3 - 5 minutes in length
▪ SATB (opt. div), a cappella (opt percussion and/or obbligato instrument, if desired)
▪ Submissions must evoke the subject matter of the chosen concert cycle (see options and deadlines in the Concert Cycles section)
▪ Any text used must be public domain or, in the case of copyright, come with proof of permission for use.
▪ Composers may submit scores for one or more concert cycle.

Scores must be delivered via email in PDF format to with the subject line “Call for Scores.” MIDI recordings in MP3 format are welcome, but not required. Submissions will be received by an MPLS (imPulse) board member who will assign the score a number and remove composer identification for anonymous review by our Artistic Director. All questions regarding the contest are welcome.

 Make Music Day 2017
Summary:Band Competition for Young Composers
Deadline: 08 May 2017
Date Posted: 20 March 2017
Details: In celebration of Make Music Day 2017, MakeMusic is hosting a composition contest for young composers, aged 13-21. The winner will receive cash and other prizes. In addition, their composition will be made available to all users of SmartMusic Teach Free and will be performed live in select cities as part of national Make Music Day celebrations on June 21st, 2017.

Entries can be created in any notation software. If you do not have any notation software, download a free 30 day trial of Finale and start creating!


Eligible compositions must use (and are limited to) the following instrumentation and should be written at a level of difficulty that could be performed by a typical middle school band:

Bb Clarinet
Alto Saxophone
Tenor Saxophone
Bb Trumpet
F Horn
Trombone/Baritone B.C./Bassoon
(Please note this instrumentation is available as the Beginning Band template in Finale.)

May 8th – All submissions are due by 11:59pm Mountain Time
May 22nd – Winning Score is announced
June 21st – Winning Score is performed

The winning young composer will receive:
$250 one-time cash prize
Finale v25
Garritan Marching & Concert Band sound library
One-year SmartMusic Student subscription
One-year student membership to American Composers Forum

 5th Annual Jazz Composition Contest for Women Composers
Summary:Competition for female composers
Deadline: 18 June 2017
Date Posted: 20 March 2017
Details: Format/Instrumentation

• Entries must be original, unpublished compositions by women composers for large jazz ensemble featuring a drum solo. Entrants must submit a transposed score and parts for full jazz ensemble in PDF format utilizing the following instrumentation:

5 saxophones, AATTB. Any/all woodwind doubling or soprano saxophone parts are fine, but must be optional. The chart must be playable without the doubles. Non-doubling parts must also be provided.

4 trombones (3 tenor + 1 bass trombone). Tuba may be used in place of bass trombone, but the chart must be playable with bass trombone instead of tuba.

4 Bb trumpets or flugelhorns. Common mutes (plunger, straight, cup, or harmon) are usable. The 1st trumpet range should go no higher than a written D above the staff (indicate optional higher notes) to maximize playability for younger bands.

Rhythm section of piano, acoustic bass and drum set. Any auxiliary percussion part must be optional.

Although the drummer is the primary soloist, other members of the jazz ensemble may be given solos.

The featured drum part/portions may be orchestrated to be in unison, counterpoint, or "trading" with other soloists or groups within in the ensemble. Creativity in this regard is encouraged.

• No transcriptions or arrangements (except arrangements of the composer's own works) will be eligible.

• The composition may already have been performed, but shall have been written in the past three years of the contest deadline and must be unpublished.

• Entries shall be no longer than 10 minutes in length.

• Evaluation

• The purpose of the prize is to encourage the composition and performance of the highest possible quality jazz ensemble literature written by women. Therefore, the composition should be conceived and constructed to ensure an effective performance by high school honors jazz ensembles.

• Compositions will be judged on:

Overall musical quality
Playability/appropriateness for high school, college and professional bands alike
Proper/professional notation
Attention to detail on all rules and guidelines

• The winning composition will be selected by a panel of three judges. Composers will be notified by July 31, 2017.

• The Seattle Women's Jazz Orchestra has the option of withholding the awards if no entries are found to be suitable.


• The winning composer will receive a $400 honorarium. The honorable mention composer will receive a $100 honorarium. Winner and Honoralbe Mention composers will receive a live concert recording of her composition performed by SWOJO with a guest artist as part of the 2017 Earshot Jazz Festival in Seattle, Washington. The winner is strongly encouraged to attend the performance. Travel is at the composer's own expense.

• The winning composer must provide print-ready parts in PDF form for SWOJO in order for us to publish the piece by September 5, 2017. The composer agrees that the piece shall bear the subtitle "Winner of the Seattle Women's Jazz Orchestra 2017 Composition Contest."

• Seattle Women's Jazz Orchestra will either publish the winning composition or secure another publishing company to publish the winning piece at SWOJO's sole discretion.

• The composer must permit Seattle Women's Jazz Orchestra to keep the submitted composition for consideration of future performance, recording, and publishing.

• In the unlikely event that an unforeseen situation prevents the guest artist from performing, the piece will still be recorded, but with a different soloist.

How To Apply

• All materials should be submitted electronically.

• The submission must be anonymous. Therefore, the composer's name must not appear on score, parts, or mp3 recording, nor be audible on the mp3 recording. If the composer's name is announced at the recorded performance, that portion should be edited out.

• Upon submission of the application form and payment, please send a zip file or link to a folder with your score, parts, and recording to You are strongly encouraged to use Dropbox, Google Drive, or other free cloud storage for your contest materials as they may be too large to send as attachments in email.

• Complete the composition contest application online and pay the entry fee through PayPal as provided below. Entry fees will not be returned for any reason.

• Composers may submit as many pieces as she wishes, but each chart must be submitted separately with its own application form, entry fee, and email with link to all composition materials.

• If you must send contest materials by mail, send a single package containing score, parts, CD recording, printout of the entry form, and entry fee of $20 USD check or money order payable to SWOJO.
Seattle Women's Jazz Orchestra
Jazz Composition Contest
PO Box 31611
Seattle, WA 98103 USA

• Seattle Women's Jazz Orchestra's Board of Directors, Executive Director, Musical Directors, and band members are not eligible to enter the contest.

Composers must not attempt to contact any of the members of the Seattle Women's Jazz Orchestra or SWOJO Board to exert influence over the outcome of the contest. Any attempt to do so will immediately disqualify the composer and all her submissions from the contest.

Summary:Young Composers' Competition
Deadline: 01 May 2017
Date Posted: 20 March 2017
Details: The Encore Wind Ensemble proudly presents the Charles B. Olson Young Composers Contest. This contest has been created to encourage the developing young composer 15-22 years of age, and promote the performance of high quality wind band literature in honor of the Encore Wind Ensemble’s founding conductor, Charles B. Olson.

**First Prize** $1,000 cash award A public performance and recording by the Encore Wind Ensemble.

Contest Rules and Procedures:
• Entries must be original unpublished compositions for wind ensemble, 5-8 minutes in length, utilizing standard wind band instrumentation. No transcriptions or arrangements (except those of the composer) will be eligible.
• Composers must be 22 years of age or younger at the time of application.
• The composition may already have been performed but must have been written within the past two years. The date of composition must appear on the title page.
• The purpose of the prize is to encourage young composers. Therefore, the compositions must be conceived and constructed by the composer. The composer’s name must appear on the score and recording.
• Compositions must be submitted with a full score. Recordings are welcome but not mandatory. Please do not send parts with your scores.
• All entries must be received no later than May 1. Entries received after that date will not be considered. The winning composition will be selected and the composer notified no later than June 15. Parts for the winning composition must be received no later than August 1.
• The composer of the winning composition will receive a cash prize of $1,000 with the performance of the work to occur at the discretion of the conductor during Encore’s concert season. The winner must attend the performance and is encouraged to attend a rehearsal prior to the performance. Travel is at the composer’s own expense.
• The winning composition will be recorded at the performance and a copy of the recording will be issued to the composer. All rights, including copyrighting, remain with the composer.
• Encore Wind Ensemble reserves the right to withhold the award if no entry is found to be suitable.
• Composers must include a self-addressed, stamped envelope for return of their materials. All precautions will be taken to ensure that manuscripts and recordings are returned safely; however, Encore Wind Ensemble cannot assume responsibility for loss or damage in shipping.
• There are two ways to apply. Please follow the application instructions below.
• A $25.00 processing fee payable to Encore Wind Ensemble should be included for each score submitted.

Additional questions can be directed to

 San Marino
Summary:New Music Project
Deadline: None
Date Posted: 13 March 2017
Details: A new summer course for contemporary music is born!
Join world renowned experts from each group of instruments and make music in beautiful San Marino.

In addition to the usual lessons, there will be a focus on improvisation, music theater and composer-performers in daily afternoon classes taught by faculty. Students will not only work with the expert in their chosen discipline, but will have the opportunity to study with ALL of our faculty. Cash prize in performance and composition will give the winner a chance to perform a solo recital and write a piece for faculty to be presented in the 2017 New Music Project. Instead of sight read performances, student and faculty will present carefully prepared pieces in quality evenings.

The narrow aesthetic preferences defended by some will be replaced by an open minded perspective embracing all forward looking tendencies in new music.

M° Nicholas Isherwood
Artistic Director of New Music Project

 Emissary Quartet seeks new repertoire for four flutes
Summary:Flute competition
Deadline: 01 May 2017
Date Posted: 13 March 2017
Details: Awards
• All three winning compositions will be performed at a public concert in the fall of 2017
• All three compositions will be professionally studio recorded and released on our YouTube Channel, in addition to live recording of the Fall 2017 performance
• One grand prize-winning work selected from these three will be featured throughout our 2017-2018 season (at least three performances across the US)

Application Materials
• Full Score (PDF format, please save as “LastName_FirstName_TitleofPiece”)
• Audio rendering or recording, if available (please send as a Google Drive, Dropbox, or iCloud shareable link)
• Completed Composer Information Sheet (scan to PDF, please save as “LastName_FirstName_Info”)
• There is no application fee

• Submissions must be original compositions for flute quartet (four flutes)
• Available instruments: 4 C flutes, 4 piccolos, 1 alto flute, 1 bass flute (all members play all instrments)
• Electronics are welcome, but please keep in mind that these works may be difficult to program after the Fall 2017 performance, as we frequently perform in venues without electronics capabilities
• Compositions should be 3-12 minutes in length
• Multi-movement works should be submitted as a single entry
There is no limit on the number of works submitted, but each work should be submitted as a separate entry

 SASRIM New Music Meeting Call
Summary:Competition for South African composers
Deadline: 31 May 2017
Date Posted: 13 March 2017
Details: SASRIM New Music Meeting, Northwest University School of Music and Conservatory, 28 -31 August 2017.

The South African Society for Research in Music invites submissions of scores from South African composers for the 2017 New Music Meeting. The 2017 faculty features composers Clare Loveday, Andile Khumalo and Hannes Taljaard.

This meeting links to SASRIM’s annual congress, and will consist of seminars presented by Loveday, Khumalo and Taljaard; individual workshop sessions; and open rehearsals with the ensemble in residence. The New Music Meeting will culminate in live performances of accepted scores during the 2017 SASRIM national congress, to be held at Northwest University from 31 August – 2 September 2017. Financial assistance for travel and subsistence will be available to successful applicants.

Entry requirements:

-Submissions are invited for works for marimba, clarinet/bass clarinet, oboe and viola. Works may be for the full ensemble, or combinations of the specified instruments.
-Works should be 5-7 minutes in length.
-Scores should be submitted in PDF format.
-Midi-realisations should be submitted in mp3 format.
-Composers may not submit more than one work.

Entries close on 31 May 2017.

 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


Deadline for entries: August 15th, 2017


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.

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.

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.

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.

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,


-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


Tel/fax: (+48) 22 827-69-81

Mob. (+48) 535-266-363


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: (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

 Hartford Opera Theater Call for Scores
Summary:Opera Call
Deadline: 01 May 2017
Date Posted: 13 March 2017
Details: Hartford Opera Theater is announcing a call for scores for its eighth annual New in November, new opera works workshop and festival. *NEW THIS YEAR* - The festival will take place Saturday, November 18, 2017 and up to 6 new opera selections will receive a staged workshop performance.

Composers are invited to submit up to two extracted opera scenes from a larger work, or one complete work of up to 20 minutes that includes the following:
• The scene must be composed for no more than a maximum of 5 singers (scenes written to include parts for mezzo-soprano or soprano are highly encouraged)
• The complete work or combined extracted scenes should be no longer than 20 minutes
• Must be written in the English-language
• Must be written for piano accompaniment or supplied piano reduction

All composers chosen to participate in the New in November workshops and festival will receive a staged performance with piano accompaniment. Works will be staged with minimal props and costumes. Composers and librettists are strongly encouraged to attend the festival weekend and performance to participate in the rehearsal process as part of the festival. Composers will be invited to attend workshop discussions and give presentations about their music as part of the festival activities. Composers will receive a DVD and professional photos of their performed scenes. There is no remuneration for composers or librettists if their works are selected. Transportation is not provided to the company’s rehearsal or performance spaces. Hartford Opera Theater is unable to provide housing or travel compensation at this time.


 Orchestra Workshop July 2017 (date tbc)
Summary:Orchestra Workshop
Deadline: 06 May 2017
Date Posted: 13 March 2017
Details: CALL FOR SCORES - works for full (but not Wagnerian) symphony orchestra, ideally between 3-7 minutes.

Works for full orchestra = 2222 (possibly triple woodwind), 4331, timps, perc, strings.

Also of particular interest in this call - piano concertos.


The Bristol Millennium Orchestra is planning a composers' workshop on Monday 17 July 2017 (date tbc) on 2 or 3 new pieces, playing through with composers present. The aim is to give composers an opportunity to hear their orchestral works tried out, and for the orchestra to experience some more new music.

Please email scores (ideally Sibelius file and pdf) ideally plus mp3 to John Pitts at with your contact details. [No Dropbox please]. Please also say whether you’re likely to be able to attend (Clifton, Bristol, UK). Composers of selected pieces will be contacted soon after the deadline and will then need to provide a set of parts (at their own cost). We’ll aim to record the sessions for each composer’s interest.

Please read this:

At our last call for scores we received over 150 scores - so please do not send in scores for anything other than full orchestra: we cannot consider anything where any of our players are left out, nor pieces that need additional forces (except possibly triple woodwind/piano/harp). Also, please no unusual seating arrangements (if we were subsequently to decide to programme it in a concert, it would need to be practical to perform).

We are an amateur orchestra who perform a good range of music, and we sound best when the instruments are well-written for and being well used - bare scores may sound great but can be less enjoyable to play, and it is frustrating for players to count 92 bars rest before playing their only three notes! Ie: purposeful, rich, inclusive scoring is good - scoring which feels as good quality as established romantic/20th-century/film orchestral repertoire.

On this occasion we'd also be particularly interested to receive piano concerto scores (of any length).


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.


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.


 2017 International Composition Contest
Summary:International Composition Contest
Deadline: 01 May 2017
Date Posted: 08 March 2017
Details: Submission for the 2017 iMelody International Composition Contest will expire on May 1, 2017. Any individual is encouraged to enter the contest. This competition is sponsored by the Liubishuhuland National Music Association and iMelody Music Club.

The composer may submit one score in PDF format. The composition may be of any style, length, and instrumentation, but it is recommended that it last no longer than 20 minutes and that the number of required performers is less than 10.

To submit, e-mail with a score in PDF format and an audio recording if available. MIDI realizations are acceptable. The front page of the score must display the name of the composer. If there is a conflict between the recording and the score, the score takes precedence.

There is no entry fee, and no cash prize will be awarded. Finalists and winners will be announced on the iMelody website by June 2017. Scores for winning works and their recordings, if available, will be posted on this page. Winning works will be performed by iMelody Music Club if possible.

Summary:Chamber Music Call
Deadline: 20 May 2017
Date Posted: 08 March 2017
Details: PRIZE
– 1-3 compositions will be performed during the 5th Festival “Incontri musicali al C.A.T.” 2017 by the C.A.T. Ensemble. The Festival will take place in Montepulciano (Siena, Italy), from 8 to 12 November 2017.
– The winner will be awarded with the 10% of the total amount from the entry fees (administrative costs excluded)
– Audio recording of the concert

The call is open to composers of any age and nationality.

1-3 instruments. Any combination of:
-Clarinet(s) (one player)
-Double Bass


May 20th, 2017

Submission of compositions either already performed/recorded or not, is allowed.
Please send to
– contact info
– score(s) in PDF format
– performance history of the composition(s), if already performed
– (recommended) MP3 or link to recording (live or midi)
– (optional) short bio, max 200 words

Please pay here a submission fee of 10€ for every composition

 GRIT Collaborative Call for Scores – Wind: Traveling Great Distances
Summary:Chamber/electroacoustic call
Deadline: 01 May 2017
Date Posted: 08 March 2017
Details: GRIT Collaborative Call for Scores – Wind: Traveling Great Distances

We are pleased to announce an open call for scores to be performed in collaboration with visual art and/or dance on July 23rd, 2017 at the Allen County Public Theater in Fort Wayne, IN. Each score will be paired with either a work(s) of visual art (by artist Lindsey Schoeneman) and/or dance (choreography by Sophia Schmitz) and performed by the GRIT Collaborative Chamber Players.

GRIT Collaborative is an interdisciplinary arts nonprofit that connects artists, from different disciplines, with each other and their communities. Through collaborative, interdisciplinary performances, installations, educational initiatives, public engagement, and festivals, GRIT Collaborative encourages dialogue and new perspectives.

The collaborators, for the event, will be:

Sophia Schmitz, choreographer

Lindsey Schoeneman, visual artist

GRIT Collaborative Chamber Players

GRIT Collaborative is based in Wilmington, North Carolina and Iowa City, Iowa.

For further information, contact:
Joshua Marquez, Artistic Director
Dana O’Malley, Executive Director

Below, are examples of our previous, collaborative projects:

Grit - dance/music/visual art collaboration

Water: Our World – music/visual art collaboration

…not without breaking it… - sound/visual art installation

The theme of the concert/exhibition will be “Wind: Traveling Great Distances”. Pieces must be centered around the theme of wind (i.e. wind as a source of energy, wind as a destructive force, wind as sonic inspiration, etc…).

Each composer may submit multiple works to one or both categories:

A) Chamber Ensemble
Works for 1-3 players (oboe, clarinet*, bassoon)
*Bb clarinet, A clarinet, and bass clarinet

B) Electroacoustic
Works for stereo, fixed media

There is no time limit on submissions, however, works under 10 minutes are preferable.
Deadline: May 1, 2017
Entry Fee: $5.00
Submission Guidelines:

1)Please submit PDF scores to with the subject: “Composerlastname Composerfirstname Call for Scores"

2)Each submission must include:
- score (.pdf)
- bio (up to 250 words) within the body of the e-mail
- program notes, preferably, relating to the topic “Wind: Traveling Great Distances” (up to 250 words) within the body of the e-mail
- completed submission form available here:

3) Each e-mail submission may include (optional):
- headshot for promotional materials (recommended)
- recording (live recordings, highly recommended; MIDI recordings, accepted)

If accepted, each composer will sign a digital contract which entails the use of the materials for the performance/installation, the use of images/recordings for promotional materials, and venue-specific requests regarding the presentation of work. A link will be provided, via e-mail, if selected.

Composers will be notified of the results by May 15, 2017. Score/parts (.pdf) are due, via e-mail, by May 29, 2017.

Composers may submit multiple works, per category. Previously performed or recorded works are eligible.

Composers whose works are selected for this festival are encouraged to attend, but not required. Regrettably, GRIT Collaborative is not able to offer travel stipends or honorariums for composers to attend the event, at this time. We are more than willing to provide a letter of acceptance for any grants. Lodging at a discounted rate, may be available, upon request.

Please contact Joshua Marquez with any questions at

Deadline: 1 May 2017
Entry fee: $5.00
Web site:
Submission form:

Deadline: 1 May 2017
Entry Fee: 5.00
Currency: U.S. Dollar (USD)
Web site:

 Orlando Garcia Composition Seminar at the Suono Sacro Festival in Assis, Italy July 31 – August 6
Summary:Composition Course
Deadline: 31 May 2017
Date Posted: 08 March 2017
Details: Orlando Jacinto Garcia will be presenting a composition course at the Suono Sacro Festival in Assisi, Italy this summer open to students and young professional composers. The course taking place from July 31 to August 6 will include group meetings where the concept of sacred music/spirituality in the 21st century will be discussed including a review of works by Part, Messiaen, Gubaidulina, among others. In addition, students will meet individually in private composition class sessions with maestro Garcia as they create a new work to be rehearsed and performed and recorded in concert by the Suono Sacro Chamber Ensemble during the festival. More information about the cost, housing etc., can be found on the Suono Sacro Festival web page; Information regarding the course and how to apply is here more information regarding the courses and the festival is located here and here application forms are available here… The last day to apply and pay the fee is May 31 although only the first 10 applicants that are accepted and pay the festival fee will be guaranteed their place in the festival.

For more information contact Orlando Jacinto Garcia at

 Sounds of Silences 2017 - 
an international competition of musical composition for the moving image
Summary:Film Music Competition
Deadline: 15 May 2017
Date Posted: 08 March 2017
Details: The Edison Studio collective, with the support of the Italian Society of Authors and Publishers (SIAE) for the project “SIAE – Classics of Today”, and with the collaboration of the Cineteca di Bologna (Film Archive of Bologna) and the Romaeuropa Festival 2017, announces the “Sounds of Silences” international competition of musical composition for the moving image. The aim of the competition is to stimulate musical creativity in its interaction with the audiovisual media, particularly for the reinterpretation of historical silent films and the creation of new soundtracks for them, with a special concern for timbre in instrumental, electronic and electroacoustic music of today.

In the preliminary stage of the competition entrants must submit an audiovisual work the musical part of which they themselves have composed, which must be sent by 15th May 2017. An international jury consisting by Simon Atkinson (composer and lecturer at Media School, DMU University Leicester, U.K.), Brett Battey (composer, visual artist, and reader at Media School, DMU University Leicester, U.K.), Andrew Bentley (composer and professor of Music Technology at Sibelius Academy, Helsinki), Anders Mattias Bye (composer, pianist and author of soundtracks for silent movies), Giulio Latini (Professor of Multimedia Communication at Università di Tor Vergata – Rome), Kent Olofsson (composer and professor at Inter Arts Center – Lund University, Svezia), Paolo Pachini (composer. video-artist and professor of Audiovisual composition at Conservatory of Music – Trieste), Barry Truax (composer and professor at Simon Fraser University Vancouver, Canada) will then select five finalists among the entrants, who will be invited to create a soundtrack for a medium-length movie from the silent film era chosen by Edison Studio in collaboration with the Cineteca di Bologna.

The 2017 edition is dedicated to Buster Keaton’s movies.

This work must be completed and sent by 15th November 2017. An international jury consisting of Monique Veaute (the president of the jury and the president of Romaeuropa art and culture foundation), Alvin Curran (composer), Andrea Ravagnan (Cineteca di Bologna), Ivo Nilsson (composer) and Giulio Latini (Multimedia Communication professor at “Tor Vergata” University of Rome), will award cash prizes to the finalists during a public event scheduled for 25th November as part of Romaeuropa Festival 2017 at Macro Testaccio La Pelanda , Rome.

The total prize money to be awarded amounts to € 6,000. The competition is open to all composers of any nationality born after 31/12/1981.
 Participation in the competition can be either individual or collective.

The organizers of the Sounds of Silences competition hope that the finalists will make a valid contribution towards redefining the meaning, aesthetics and conceptual structures of cinema before the advent of soundtracks, not simply by “accompanying” the images on the screen, but by revealing their original hidden content, thereby giving a new voice to what was previously silent.

For more information:

 The Gordon Stewart Memorial Composition competition 2017
Summary:Traditional Fiddle Music Call
Deadline: 30 May 2017
Date Posted: 08 March 2017
Details: The Stewart Society Benevolent fund with Feis Rois is once again running its biannual competition open to all over 14 to compose a short piece on the fiddle in 2017. The winner will receive a cash prize and an invite to the Highland Games to receive their prize. The competition opens on 10th of January 2017 and closes on the 30th May 2017. Please submit a short, original piece of traditional fiddle music in pdf form. Contact Feis Rois for an entry form and more details here:

 Azrieli Commissioning Competition
Summary:Call for proposals
Deadline: 07 May 2017
Date Posted: 08 March 2017
Details: Submission deadline: May 7, 2017

The Azrieli Commission is open to Canadian composers of all faiths, backgrounds and affiliations, with the aim of encouraging creative and critical engagement with the question ‘What is Jewish Music?’*
A commissioning prize of $50,000 CAD is awarded biennially to the Canadian composer who proposes a response to this question that displays the utmost creativity, artistry and musical excellence.
The musical work resulting from the Prize will be premiered by a major Canadian orchestra as part of the AMP Gala Concert, scheduled for the fall of 2018, and subsequently audio recorded to commercial quality.
The winning composer will be invited to attend the rehearsals and the world premiere of their prize-winning work, and be publicly honoured at the AMP Gala Concert.

Please see the Foundation’s definition of ‘What is Jewish Music’ below to ensure that the proposed work complies with the selection criteria.

• Proposals will be accepted from Canadian citizens and permanent residents of all ages and levels of experience.
• Canadian citizens and permanent residents of all faiths, backgrounds and affiliations are eligible to submit a proposal.
• Eligible composers must prove within the body of their submission the relevancy of their proposed composition to the Prize theme – a celebration of excellence in new Jewish Music

The Proposal Package

Please note: all documents and media must be submitted electronically via the online application form.

All Proposal Packages must include:
-a completed application form;
-proof of Canadian citizenship or permanent residency;
-a current curriculum vitae (CV) highlighting relevant training, experience, performances and awards;
-a works list detailing all relevant completed works, their premiere dates and recordings, where applicable;
-a written proposal (not to exceed 1 000 words) describing the proposed work, including pertinent technical and aesthetic details, as well as an explanation of the work’s relevance to Jewish Music;
-where a proposed work contains text not written by the composer, then proof of the right to use the selected text; and
-two musical excerpts of the composer’s music – both score and audio recording – not to exceed three (3) minutes each.
-Selected excerpts should demonstrate the composer’s aptitude for writing orchestral compositions and/or Jewish Music.
-Scores must be submitted in PDF format, audio recordings in MP3 format.
-MIDI or piano reduction recordings may be submitted where live audio recordings are unavailable.
-Optional: Applications may be accompanied by no more than three letters of recommendation or reference.

Guidelines for Proposals
All proposed works must meet the following guidelines to be given consideration by the Jury.
Any work that does not meet these guidelines will be disqualified.
-Proposals must be for new works yet-to-be-written (i.e. the work may not be completed at the time of application.)
-Proposed works are to be a minimum of fifteen (15) minutes and a maximum of twenty-five (25) minutes in duration.
-Proposed works must be scored for a minimum of seventeen (17) string musicians (i.e. string orchestra) and a maximum of forty-five (45) musicians of mixed instrumentation (i.e. Mozart orchestra)
Maximum Instrumentation for nominated works is as follows:
-Brass: 2 trumpets / 2 trombones / 4 horns / 1 tuba
-Winds: 2 flutes / 2 oboes / 2 clarinets / 2 bassoons
-Strings: 8 1st violins/ 8 2nd violins/ 6 violas / 4 cellos / 4 double basses
-Percussion (2)
Works may feature:
-a soloist (vocal or instrumental); and/or
-pre-recorded digital media.

The Composer of the winning work agrees to:
-engage in the composition of their proposed work during the time allotted between the announcement of them as the Prize Winner and the deadline for submitting the score and parts to the performance partner for the AMP Gala Concert;
-report to the Manager, Azrieli Music Initiatives any major deviations from the original proposal over the course of composition, so that such deviations may be adequately discussed and negotiated;
-have their work performed as part of the AMP Gala Concert and subsequently audio recorded;
-be available in person for the rehearsals and performance of their work;
-grant the Azrieli Foundation the right to serve as primary commissioner, thereby retaining performance rights for the premiere as well as first recording rights. (The winning composer may apply for supplemental funding from other sources, as necessary.); and
-participate in outreach events, workshops, press conferences, media interviews and other such promotion and education activities as they relate to the Prize and its objectives to educate the general public about the universal appeal and artistic importance of the works that result from engaging with the topic of Jewish Music.

Letters of Reference (optional)
No more than three referees may submit letters of reference on behalf of the applicant.
All letters should clearly indicate the applicant’s name at the top of the page, as follows:
“(Candidate’s Name) Letter of Reference, Azrieli Commission for Jewish Music”

All letters of reference should be received via postal mail at the following address:
Attn: Jason van Eyk
Azrieli Music Prizes
22 St. Clair Ave. East, Suite 202
Toronto, ON M4T 2S3

 Listening to Ladies and Ctrl-Z
Summary:Competition for female composers
Deadline: 01 June 2017
Date Posted: 08 March 2017
Details: Listening to Ladies and Ctrl-Z are excited to announce a call for scores, due Thursday June 1st, 2017.

Composers of any age and nationality who identify as women, nonbinary, or gender fluid are invited to submit scores for live performative electronics for a series of concerts to take place in California and New York in the Fall of 2017 (venues/dates to-be-determined). The program will showcase hugely important yet often overlooked contributions to the history of electronic music by women alongside new pieces written by non-cis-male composers working on the cutting edge of experimental electronic and electroacoustic music. The resulting program will be recorded and released by Ctrl-Z in late 2017/early 2018.

Ctrl-Z is a live electronics group that focuses on composed works for live electronics, either written explicitly for the medium or interpreted as such. Pieces are typically realized with a diverse array of electronic equipment, including computers (with custom Max/SuperCollider/PD patches as well as commercial software), modular synthesizers, homemade circuitry, test equipment, and video/projection equipment. Since the available catalog of compositions written for these types of ensembles is fairly small, there is not an extensive literature to reference when writing. However, previous works performed by Ctrl-Z have employed the following kinds of notation:

1) Text (instructions written on how to realize the work with the a timeframe/timeline)
2) Graphic notation (graphics with definitions and keys to realize sound)
3) Traditional notation (staff notation to realize timbre variations in classic pitch/rhythm structures).
Please note if traditional notation is exclusively used, there should be reason as to why electronic
instruments must be used as opposed to acoustic instruments.
4) Color (using colors to delineate timbre variations)
5) Video/Projection (using graphics or video to realize sonic ideas in a way that is fixed to thetimescale of the video)

In many instances, works performed by Ctrl-Z have utilized combinations of the above notation techniques. To this in mind, we strongly encourage all submitters to not hold back on their creativity when exploring musical ideas for live electronics.

Ctrl-Z is currently made of three members, but we often bring on additional performers to augment the group. While we do not discourage pieces using acoustic instruments, we will not consider electroacoustic works with electronics that are simply functioning as audio processing for acoustic instruments. We are seeking works for live performative electronics. If a submission includes a written instrumental part, in addition to parts written live performative electronics, we will surely consider it.

Interested composers can submit up to two pieces can be of any length. Works may have been previously performed, and there is no submission fee. We will accept 2-4 works, which will be programmed for our Fall concerts, and released on record. However, if we find more than the allotted number of chosen pieces to be of high quality, we will add them to our catalog to be potentially played/recorded at a later time.


Email the following to by 23:59 EST, Thursday June 1st, 2017:
1) PDF score(s)/photo(s) of the piece(s) (maximum is 2 pieces). Program notes are not required, but if they are included with the score, please remove your name and any other personal/identifying information that may appear in them (please keep/display the titles of the pieces though).
2) MP3 sound files for each piece submitted (if applicable).
3) A separate PDF containing: the title(s) of the piece(s), the name of the composer, and contact information for the composer – email, phone number, and website address if available. You may also include a brief bio (no more than 150 words) on this document (optional).

Again, remember to ensure that no information identifying you is on the score or in the filenames (please keep/display the titles of the pieces though).
The number of compositions selected for inclusion is dependent on the pool of works received.

The compositions will be selected by the Ctrl-Z performers with administrative help from Listening to Ladies staff. Selected composers will be notified by email by Friday June 16th, 2017. Selected composers must be prepared to supply parts and other performance materials for their compositions by Saturday July 1st, 2017 in order to allow the performers enough time to rehearse them (if applicable).

THE COMPOSERS WILL RETAIN ALL OWNERSHIP, PUBLISHING, PERFORMANCE, AND DISTRIBUTION RIGHTS TO THEIR WORK. We do not seek exclusivity or any rights to artistic works. We will perform, record, release, and promote the music, but the composer reserves all rights to do with the work what they see fit, forever. Details regarding the recorded release of works will be discussed in full with the top selected composers once the call is finished and they have been notified.
If you have questions, please email Elisabeth Blair at

Ctrl-Z is a group dedicated to the performance of composed music for live electronics. Founded by Ryan Page, Daniel Steffey, and Nick Wang in 2015, the group often finds itself in collaboration with other musicians, who perform on both electronic and acoustic instruments, to realize these works. Using an array of modular synthesizers, computers, homemade circuitry, test equipment, and other machinery, they have commissioned new works for the medium, as well as realized classic pieces, or adapted open-ended instrumentation scores to fit their means of performance. Music in their repertoire includes works by John Cage, Pauline Oliveros, Luc Ferrari, Johanna Beyer, Lou Harrison, Ryan Ross Smith, Alvin Lucier, and those in the group, among others. They are always accepting new pieces submitted by living composers, as well as realizing more classic works by pioneers of the genre. For more information you can visit:

Listening to Ladies showcases non-cis-male composers through online features, a concert series, and a podcast. Learn more at

 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 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

 Anatolia College Composition Course
Summary:Composition Course
Deadline: 12 May 2017
Date Posted: 01 March 2017
Details: Thessaloniki, Greece 29 June-9 July 2017

Composition Course

The Composition Course is an intense summer session in composing contemporary music, geared toward intermediate to advanced student composers and consists of:
(I) Daily Composition seminar meetings with Prof. Vassilandonakis and Prof. Nickitas Demos
(II) Private composition lessons with Prof. Vassilandonakis and Prof. Nickitas Demos
(III) Concert performance of new works by course participants
(IV) Attendance of all Anatolia Summer Performance Program events and activities.
(I) Daily Composition seminar meetings:

(1) Composing for the New Music Ensemble:
Participants will have composed complete pieces in advance of the course for either the entire ensemble or for a subset of the available instrumentation. The pieces will be rehearsed and evaluated in a group setting by Prof. Vassilandonakis and Prof. Nickitas Demos and by the performers in residence, in pursuit of optimal compositional craft and idiomatic writing for the ensemble. There will be time for revision and refinement of the compositions, which will be rehearsed and performed by the ensemble in concert.
(2) Techniques and Stylistic Nuances in Contemporary Music:
Organized presentation and discussion around important topics in contemporary music, to include: orchestration, notation practices and innovation, pitch and rhythm systems and organization, stylistic trends and tendencies, contemporary performance practice, composing music in visual environments (film), and others.
(3) Composing for a living; building a career out of writing music:
How to set and achieve realistic long-term goals, how to build lasting industry relationships, how to produce and market concerts, how to pursue academic and non academic composing opportunities.
(4) Presentation and discussion of student work:
Participants will give group presentations of their music, which will be discussed in a collegial atmosphere, allowing seminar members to exchange valuable peer advice and build composer esprit de corps.

(II) Private Composition Lessons:
In addition to group work, each participant will have a minimum of 3 hour-long private lessons with Prof. Vassilandonakis and Prof. Nickitas Demos . Additional lessons will be given as time allows and individual student needs are evaluated.
(III) Concert performance of new works by course participants:
A concert of new works by course participants will be presented following the completion of the seminar. Each accepted participant will compose a new work prior to arriving to Thessaloniki, which will be workshopped, rehearsed and performed by the New Music Ensemble, consisting of Anatolia Summer Music Performance Program Professors and advanced instrumental students. Composers will receive a professional quality recording of their piece. These works should be treated as commissions by the Summer Music Performance Program at Anatolia College. Accepted participants will be contacted with details in regards to instrumentation, duration, required materials and deadline for submission.
(IV) Attendance of all Anatolia Summer Performance Program events and activities:
Composition participants will have access to all masterclasses, concerts, and lectures given during the Program, as well as cultural and outdoor group activities in Thessaloniki and nearby areas.

Composition course is designed for student composers of intermediate to advanced level, age 16 or older.
2nd year College level theory skills (or equivalent)
Prior instrumental compositional experience (College level equivalent)
Working knowledge of notation software (Sibelius/Finale)

Submission Materials:

(I) Via email to: and :
1. CV/resume. Please make sure to include the following:
-date of birth, citizenship, mailing address, email address and phone number
- schools attended with dates of degrees earned as composer
- names of composition teachers
- list of works composed with detailed instrumentation and year of composition
- list of performances of your works
2. A recommendation letter from your current or a former composition teacher.
(Letters should be sent directly by your teacher to: and
(II) As links via an internet delivery service:
3. TWO contrasting scores of recent representative works, one of which should be scored for an instrumental chamber ensemble.
4.Recordings of the same pieces are strongly encouraged but not required.

Use your preferred internet delivery service, such as or or, making sure that you advise Prof. Vassilandonakis and Prof. Nickitas Demos by email where and how your materials are available online. Please Do NOT send items 3 and 4 by email.

(III). By Bank Wire/Transfer
5. Application Fee: 100 Euros.

Deadline for receipt of all materials is Friday, May 12th, 2017.

Participants accepted into the course will be notified by email no later than March 24th, 2017. At that point, they will also be given details for the commissioned piece, in regards to available instrumentation, duration and delivery materials and deadline. Requests for specific instrumentation from within the performing forces available will be honored to the greatest extent possible.

The principal language of the Anatolia Composition workshop is English.

 2017 Australian Composition Seminar - Plexus
Summary:Composition Seminar
Deadline: 23 June 2017
Date Posted: 01 March 2017
Details: Following a successful inaugural seminar in 2015 and a gigantic 2016 seminar, Richard Gill, Karen Carey and Andrew Batt-Rawden team up again to deliver another astounding compositional development experience for high school music 1 and music 2 students in years 8, 9, 10 and 11 with a choice of either Monday 24 July 2017, or Tuesday 25 July 2017. The workshop will run from 9am to 2:30pm.

The day has three core components;

- workshop/analysis of students' works
- analysis of contemporary Australian work composed by Stefan Cassomenos
- a performance and discussion other repertoire commissioned by Plexus, by both international and local composers.

A kit will be distributed on the day that includes; all student scores being played through, an educational guide to Stefan Cassemenos' work, scores of other works being performed and a guide to approaching their analysis.

Students are invited to submit a work that is no longer than a minute of a piece for the trio, clarinet (including bass), violin and piano.

PDFs of scores may be emailed to
Scores must be received by June 23, 2017.

We will give broad analysis/pointers on as many works submitted as possible (there will by the necessity of time be a limit to how many works we can get through). All scores being played through in the workshop are published in a booklet that is handed out to all students attending on the day. This encourages students to learn from, and be inspired by, each others' scores.

In addition to workshopping the students' music, we will also give an in depth analysis of one of Stefan Cassemenos's works (details of exact repertoire will be sent prior to Term 1, 2017).

Any questions, please contact Andrew at

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
• 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

 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 Printed scores can be mailed to:

Pacific Edge Voices
PO Box 8568
Berkeley, CA 94707

More information about Pacific Edge Voices is available at

 Opera Hub
Summary:Aria Contest
Deadline: 01 May 2017
Date Posted: 01 March 2017
Details: TRUNK SHOW!
A Fashionable Fantasia of Women on the World Stage

Aria Contest Announcement

OperaHub announces a contest for newly-composed arias for powerful female characters in virtuosic female voices.

One $1000 Grand Prize
Seven $200 Runners Up
All winners will have their aria performed as part of OperaHub’s TRUNK SHOW! fantasy/pastiche/singspiel.

TRUNK SHOW! will be a semi-devised lyric-theatrical fantasy pastiche inspired by the great divas of the ages, the economic significance of their extravagant wardrobes, and their extraordinary contributions to the social and economic emancipation of women. The script, which is in the early stages of development, will position 8-10 historic diva characters in conversation with each other. Each of these characters will sing one aria from that singer’s historic repertoire as well as one new aria featuring a woman character in a position of power or prestige.

▪ Arias that are a marriage of classical vocal technique and structure with modern musical style and dramatic sensibilities, 2-6 minutes in duration.
▪ Each aria should be for a female character who is a recent, current or future woman of great social, economic, or political power or prestige. If you are not sure what this means, we have a non-comprehensive list of suggestions.
▪ The aria should present her in a situation that is primarily fueled by something other than romantic intrigue although that may play a part.

Arias will be evaluated on the strength of their:
• choice of subject matter
• emotional expressiveness
• active, character-driven text
• vocal writing that is grounded in the virtuosic use of the human voice developed through the classical, bel canto, and Romantic vocal literature.
• dramatic arc
• beauty and lyricism
• compositional sophistication

We will also be taking into account the voice type distribution among our performing ensemble when choosing final selections. Our ensemble will likely include voices from the following types: light lyric coloratura soprano, full lyric coloratura soprano, lyric soprano, young zwichenfach, lyric mezzo, coloratura mezzo, dramatic mezzo, contralto

• We encourage composers of all genders, races, ethnicities, sexual orientation, ages, career status to apply; this is a blind application process and the only information we will use to identify applicants during the evaluation process is their phone number.
• A composer may submit multiple entries but we reserve the right to limit the number of winning entries for any single composer.
• Payment of prize money will be contingent upon winners entering into a rights agreement with OperaHub to cover the use of the composer’s aria in the TRUNK SHOW! stage production.
• Contest is open to United States Citizens and Permanent Residents only.

Notes (updated 29 November, 2016):
• The historical divas we will be portraying created roles for composers such as Handel, Mozart, Rossini, Bellini, Donizetti, Meyerbeer, Wagner, Debussy, Massenet, and Verdi and successful arias will make a strong impression in relation to the music of these composers.
• Arias may be dramatic or comic.
• Arias may or may not subvert conventional vocal/character types.
• The character need not be the protagonist of the larger “story” if the composer is thinking of the aria in the context of a larger work.
• The aria can either exist on its own or be part of/grow into a part of a larger work that is its own opus.
• The new arias will generally be used in our show as new showpieces for our historic diva characters, so we are not looking to integrate them fluidly into the show in the same way they would be in a strictly linear-narrative opera. We won't be trying to tie all of them together in one linear story line other than the meta story line of the trajectory of women's place and roles in opera.
• The text of the aria can be in English or a foreign language, but keep in mind that we are looking to perform these arias with a specific ensemble. Each singer in that ensemble will definitely be capable of performing the major singing languages: Italian, German, and French, as well as English. Certain singers will also have experience singing in Spanish, Russian, Czech, and Yiddish. We may have singers who have experience in additional languages or be able to find coaches for them, but these are not guaranteed.
• While we do not wish to prescribe a list of characters, in response to questions from composers we have created a list of suggested subjects.
• Questions should be addressed to

Submitting your application:
• Section 1: Fill out your contact information on the google form linked here:

• Section 2: Submissions should be emailed to should be formatted as either one (preferred) or two PDF documents.
◦ 2A: Information Sheet
▪ Ten-Digit Telephone number
▪ Aria Title
▪ Character Name and Description
▪ Summary of the character’s situation or dilemma
▪ Text of aria (and English translation, if applicable)
2B: Aria sheet music

Submission Deadline:
May 1, 2017

 1st International Electroacoustic and Composition Competition „eviMus“
Summary:Solo plus electronics call
Deadline: 01 July 2017
Date Posted: 22 February 2017
Details: 1. Internationaler Kompositionswettbewerb
für elektroakustische und intermediale Musik „eviMus“

1st International Electroacoustic and Composition Competition „eviMus“

The Festival eviMus (Saarbrücker Tage für elektroakustische und visuelle Musik) call for new electroacoustic works for its 1. Internationale Kompositionswettbewerb
für elektroakustische und intermediale Musik.

Work for:

flute (piccolo, C, G Alto or C bass) and electronics,

or saxophone (soprano, alto, tenor or baritone) and electronics.

Electronics: tape, live electronics, with or without video, maximum of eight channels

Duration: between 6 and max. 12 minutes.


The competition is open to composers of all nationalities born after 1977 (40 years old), each of whom may submit only one work, which was not commercially published or awarded a prize in any other national or international competition. The works must have been composed between 2012 and 2017. The length can be between 6 and max. 12 minutes.

The jury will award two prizes. It may also declare the deserted category or assign Honorary Mentions. The jury’s decision is final and without appeal. Any situation not covered by the rules will be managed by the jury.

Prize: 1000€ und premiere
Prize: 500€
The jury will announce the results during the 4. Saarbrücker Tage für elektroakustische und visuelle Musik – eviMus 2017.

How to apply:

All applications must be sent via DropBox or Google Drive in a single folder to the email: competition[at]evimus[dot]de.

The application must fulfill the following requirements:

-PDF or DOC with contact information, composer’s biography, nationality, date of birth and a description of the idea of your work (program notes).
-Copy of birth certificate/ID/Passport in digital format
-Recent photo in digital format
-Audio file containing a stereo version of the piece
-PDF file with the score for instrument and electronic
-Optional: Electronics (patch, tape, description, audio, etc.)
-Participating in the competition signifies for candidates accepting all the conditions of this rule. Any breach of the rules involves the elimination of the work in the contest.

Start of applications: 1st february 2017
Deadline for applications: 1st July 2017

 FilmScore Competition 2017
Summary:Film Music Competition
Deadline: 01 May 2017
Date Posted: 22 February 2017
Details: The eagerly anticipated FilmScore Competition is LIVE and this year. we're animated.

This competition is for 14 - 19 year olds to write a score for a short film. We have selected 4 shot, animated films (2 are available now, 2 more will be online soon).

Simply sign up for the competition here and follow the instructions in the email.

New this year - we are thrilled to be working with Wiltshire Music Centre, to offer new expertise and exposure to the competition.

Do please share this with 14 - 19 year olds, secondary schools, teachers, music teachers, parents, we would love your help in spreading the word.

FilmScore 2017 opens on 6th February 2017

The deadline for submissions is 1st May 2017

The shortlist will be announced on 22nd May 2017

Grand final will be held in mid-June 2017


 12th Thailand International Composers Competition
Summary:Woodwind Call for Scores
Deadline: 01 May 2017
Date Posted: 22 February 2017
Details: 13th Thailand International Composers Competition
7 - 12 August, 2017
“Rapee Sagarik Composition Prize”
1) Applicants should be composers at the early stages of their professional careers.
2) Composers, regardless of nationality, are encouraged to apply.
3) Composers 35 and younger at the end of the competition year are eligible (born after 1 January 1981).
4) Scores that have been awarded, or commercially recorded are not eligible.
5) Past winners of the competition are ineligible to apply.
6) Any alteration of the score may be permitted under the guidance of master composers during the week of the festival.
7) The submitted work should be between 6‐10 minutes in length.
8) Submitted compositions can include any combination from the following instrumentation: flute, oboe, clarinet, bassoon, french horn. Submitted composition will be rehearsed and performed by Sawasdee Woodwind Quintet
9) Only compositions written within the last five years are eligible for submission.
10) One entry per applicant will be accepted.
1) Eligible submissions must be sent electronically as a single email and should include:
• A PDF file of the score (with pseudonym), which may include program and performance notes
• An mp3 file (audio recording, if available, Midi realization - ok), and
• A separate word document linking the pseudonym and title to the composer's identity, which includes address, telephone number, e‐mail address, current bio (200 words), program note (200 words) & performance history of the submitted work.
2) The composer’s name should NOT appear on the submitted score and recording.
3) Links to recordings (due to large file size, or other factors) are o.k.
4) The deadline for submission is 1 May 2017. Please send material to:
An honorarium of 1,500 USD will be awarded to the winner of the competition. All six finalists will be invited to participate in the Thailand International Composition Festival. The Thailand International Composition Festival will provide full accommodation including Hotel room, meals, and local transportation for all finalists. Travel expenses to TICF and other arrangements are the responsibility of the participant.
Selection Six finalists will be announced no later than 20 May 2017. The Winner will be announced during the Final concert of TICF 2017 on Saturday, 12 August 2017.
The 6 finalist works will be performed by Sawasdee Woodwind Quintet.
Please send material to:
Further inquiry please contact:

 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.


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 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 ( 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:


Applications close: Results announced: Premiere performances:
5pm, Friday 1st September
Friday 13th October
Sunday 29th October and 12th November

Summary:International Chamber Competition
Deadline: 30 April 2017
Date Posted: 22 February 2017
Details: Composers from all over the world are invited to present works for Meitar Ensemble.

The competition is an open call for composers of all ages and nationalities.
The promotion of New Chamber and Ensemble Music was Meitar Ensemble’s goal and ambition for many years. With this competition we take on yet another path to find those hidden jewels of New Music and bring them to the front stage .


1,000 euro and one public performances on June 15th 2017. The piece will be conducted by Pierre-Andre Valade and recorded live.


There are no age limit or nationality restrictions for composers.
Instruments: The compositions submitted for the competition must use any combination of the following instrumentation, with a minimum of five performers: flute+picc, alt, oboe/ e.horn, clarinet+bass, bassoon, 2 violins, viola, cello, d.bass, piano/ sampler, percussion: vibraphone, 4 octave marimba, glockenspiel, bass drum. Usage of prepared pianos should be discussed with the ensemble.
No usage of additional instruments (percussion instruments which are not on the list, live electronics, etc.) is allowed.
Scores submissions via email only. Scores will not be accepted if they do not meet the conditions for entry.
The works duration must be between 8 to 15 minutes.
Pieces that have won awards in other competitions will not be accepted, never the less, pieces subjected to the competition are not obliged to be new compositions.
Deadline for entries: The scores, the registration application and the enclosed documents must be sent no later than April 30th 2017 (23:59 Jerusalem time) to the following email address:

A full online Application Form (see at bottom of the page)

Scores (in PDF form) to be under pseudonym (the committee will not receive the participants names) + Short description of the work

An artistic and academic curriculum

A copy of the Entry Fee payment document

The jury will consist of Meitar Ensemble members and the ensemble’s composer in residence, Mr. Philippe Leroux and the ensemble’s conductor in residence, Mr. Pierre-Andre Valade
The jury’s decision is final and cannot be legally challenged. Furthermore, the jury reserves the right to award no prize.
The entry fees are non-refundable.
The results of the Matan Givol International Composers Competition 2017 will be published on the web site and the social networks no later than May 15th 2017.


 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.

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
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:

 Edwin Fissinger Choral Composition Prizes
Summary:Choral Competition
Deadline: 01 June 2017
Date Posted: 22 February 2017
Details: NDSU Music honors the legacy and traditions of noted choral composer and long-time NDSU choral conductor Edwin Fissinger with its annual choral composition competition.

The Edwin Fissinger Choral Composition Prizes will be awarded to the first and second place winners.

2017 Deadlines
-Score submission: must be received by June 1, 2017
-Announcement of winners: September 1, 2017
-Premiere of winning composition: October 2017
-Application fee: $25 per composition
Pay online at NDSU Marketplace
Or mail check (payable to North Daktoa State University) to:
Dr. Jo Ann Miller, NDSU Challey School of Music, Dept 2334, PO Box 6050, Fargo, ND 58108-6050
Must be postmarked by June 1, 2017

Entries should be:
-for mixed choir (SATB), divisi is acceptable
-unaccompanied, or with keyboard accompaniment, obbligato instruments ok
-three to eight minutes in duration
-original, not previously performed publicly, and unpublished (by an -established commercial firm) works only. The text may be sacred or secular, either in the public domain or copyrighted, as long as a letter of permission from the copyright owner is included with the submission
suitable for an accomplished high school or university choir

-Open to all composers, except for current NDSU faculty, staff, and students.
Prior winners may re-enter only after five years.
-First: $1,000
-Second: $500
-NDSU reserves the right to not award prizes in any given year.
-The composer of the first prize work must be present at the premiere performance in October 2017.
-NDSU will reimburse actual travel, lodging and food expenses up to a maximum of $750.
-Winners will be announced at by September 1, 2017.
-The first prize winner's piece, with the approval of the composer, will have their composition considered for publication in Pavane Publishing for placement in the Jo Ann Miller Choral Series. The second prize piece will be considered for publication.

Judging Panel
Jo Ann Miller, Director of Choral Activities, NDSU
Michael Weber, Associate Director of Choral Activities, NDSU
Charlette Moe, Assistant Director of Choral Activities and Music Education, NDSU
Dale Warland
Allan Petker, Pavane Publishing

Submission Guidelines
-Include name, address, phone number(s), and email address when making payment via NDSU Marketplace or if paying by check, in a sealed envelope accompanying the score.
-Send by PDF file to
-Submitted scores must be in Finale or Sibelius.
-A midi file is strongly recommended
-All scores selected for performance will be reproduced by NDSU
-Submissions must be submitted via email by 11:59 PM on June 1, 2017 or postmarked by June 1, 2017.
-If not submitting a PDF, mail submissions to:
Dr. Jo Ann Miller, NDSU Challey School of Music, Dept 2334, PO Box 6050, Fargo, ND 58108-6050
-Email compositions to:
Jo Ann Miller, Director of Choral Activities,


 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

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.

 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.
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.
Justin Lytle, Juror for Musicians
Justin R. Lytle is an artist, com, 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.
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
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:
You may also write to us in either English or Spanish at
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: 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:
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:
*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
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 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 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:
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:
For more information, write to us at
Join/Like us on our Facebook Group Page: 360 Xochi Quetzal
Follow us on Twitter: @360XochiQuetza360 XOCHI QUETZAL: Free Artist Residency in Central Mexico.

 113 Composers' Collective
Summary:Competition with 3 Categories
Deadline: 30 April 2017
Date Posted: 22 February 2017

113 is accepting scores for their 2017-18 concert season. Selected scores may be programmed at any point during the season. Composers who are accepted are encouraged (but not required) to attend. Composers of any age or nationality may apply. We are accepting scores in three categories:

1. Solo works for any instrument or voice type

2. Duos for saxophone with piano

3. Works for 1-4 Female Vocalists (2 Soprani and 2 Mezzo-Soprani)

Submissions may include electronics or improvisation.


Scores should be submitted electronically to with the subject heading, “113 Call for Scores.” Please attach a PDF of the score and include the link to an mp3 recording (if available). Composers may submit multiple scores, but please note that there is a $ 5.00 fee for each score submission. Submission fees will be accepted through Paypal.

 2017 Student Composer Readings
Summary:Reading Session
Deadline: 15 May 2017
Date Posted: 22 February 2017
Details: Synchromy and Music @ Boston Court announce a Master Class/Reading Session for High School and Undergraduate student composers as part of DuoFest, LA’s Most Fearless Fusions.

As part of Music @ Boston Court’s DuoFest: LA’s Most Fearless Fusions, a weeklong festival of performing duos, Synchromy will be hosting a master class/reading session for student composers in Southern California. Selected composers will have their works read by some of the top professional musicians in Los Angeles and will receive feedback from both the performers and the professional composers of Synchromy. This will be a public session at the Boston Court Performing Arts Center in Pasadena, California on Monday, July 10, 2016, 7:00 PM.

Applicants can apply in one of two categories:
• Category A: young composers currently enrolled in high schools;
• Category B: undergraduate students currently enrolled in composition programs in the U.S.

Send us your new or previously composed original compositions (unpublished or self-published) up to 5 minutes in length, for one of the following instrumental combinations:
• Cello and Piano;
• Flute and Piano;
• Flute and Cello;
• Piano 4-hands.

In Category A (high school-level) applicants may also submit solos for any of the instruments included above.

How to enter
Please submit the following materials by Monday, May 15, 2017 at 6:00pm Pacific Time:
• Application fee of $25, paid via PayPal to (include “call for scores” and the name of the composer as a “note” when you process this payment). Please copy PayPal transaction ID and add it to the application form (This application fee is non-refundable)
• The application form (click here to download .pdf, fill it out, and send as an attachment with your submission)
• Computer-engraved score (.pdf file) with program notes (if available)
• Recording, if available (attach mp3 file or include a permanent link to a larger .wav or .aif file; MIDI realizations converted to an audio file are acceptable)
• Short bio (.pdf file)

Hand-written manuscripts, arrangements of the works of other composers, or compositions with electronics will not be considered. Composers can submit only one piece for consideration. We only accept electronic submissions.
Please mark your score and bio clearly with your full name and the title of the piece. Please label all electronic files with your last name, title of the piece and name of the file (for example: Smith_Trio_score.pdf).

Email all application materials to . [IMPORTANT this is not the same email address as the one used to submit your application fee.]

Participation in the reading session is free for students selected through this call for scores. Attendance of the reading session at Boston Court Performing Arts Center (Pasadena, California, USA) on Monday, July 10, 2016, at 7:00 PM is Mandatory. Please note that no compensation will be offered to composers for the reading session participation or for travel and other expenses. Recordings of the session may be made, but may not be released publicly.
The selected composers will be notified via email by June 1, 2017. Composers must supply instrumental part for duets with piano (as an electronic .pdf file) via email by June 10, 2017.


 Boston Choral Ensemble's Commission Competition
Summary:Choral Competition
Deadline: 01 May 2017
Date Posted: 14 February 2017
Details: Boston Choral Ensemble's Commission Competition aims to identify a talented composer and support her or him in the performance of a new work for chamber choir to be premiered by Boston Choral Ensemble. The commissioned work will be rehearsed, prepared, and integrated into the Ensemble’s program during the calendar year 2018.

Boston Choral Ensemble is a highly-skilled, auditioned choir of volunteers. Applicants are encouraged to consult past programs and audio samples to learn more about what might be appropriate for the ensemble.

The Ensemble is soliciting proposals for unaccompanied choral works under 10 minutes in length. The texts may be sacred or secular and in any language.

Details of the 2018 competition may be found below. Applicants with further questions are encouraged to contact the competition coordinator at

This competition is open to composers regardless of race, color, national origin, religion, creed, age, sex, sexual orientation, marital status, disability, or veteran status.
The following groups are ineligible to enter the competition:
• current Boston Choral Ensemble singing members;
• current Boston Choral Ensemble board members;
• current members of the Commission Competition Jury;
• spouses, partners, or family members of any of the above groups; and
• those who were members of any of the above groups within one year of entry deadline.

If selected as the competition's winner, the commissioned piece will meet the following criteria:
• for UNACCOMPANIED mixed voices (SATB)
• up to 10 minutes in length
• generally no more than 4 parts but may include limited divisi (up to two per voice)
• limited or no solo vocal material
• the work must not have been performed in any public setting, recorded, promised to another group for first performance or first recording

This piece will be performed in our 2017/18 season during the Rainbow Connection concert which will be in May or June 2018 (tbc). This performance will honor the LGBTQAI community. The commissioned work can be on any subject however, it is strongly encouraged that chosen text be written by an LGBTQAI author or be about the LGBTQAI subject matter. Texts may be sacred or secular, and in any language provided it meets the parameters for the new work. If the intended lyrics are not in the public domain, and the composer is not the author and copyright holder of the lyrics, it is the responsibility of the composer to obtain permission from the copyright holder before the application deadline.

A completed online application form including
1 A short proposal idea for the new work outlining the details, at the discretion of the composer including, but not limited to proposed text, compositional technique, etc. (File name: Last Name, Proposal.pdf)
2 A short biography (about 250 words) and (File name: Last Name, Bio.pdf)
3 A works list, PDF files only. (File name: Last Name, Works.pdf)
4 Three (3) work samples that demonstrate current compositional activity. (File name: Last Name, Sample 1.pdf, Last Name, Sample 2.pdf, Last Name, Sample 3.pdf)
▪ It is recommended that composers include work samples that indicate skills appropriate to write for an unaccompanied choral ensemble.
▪ PDF files only. Notation files will not be accepted. Please combine ancillary materials—such as notes, texts, instructions—into a single PDF per work.
▪ Include (within the score PDF) an English translation for any text not in English.
▪ Include date of composition on the score.
5 Recordings of the submitted work samples (optional but recommended). Although this is optional, audio may assist in the initial assessment. These may be acoustic recordings or MIDI renderings; the quality of performances or MIDI renderings will not be judged. MP3 files only. (File name: Last Name, Audio 1.mp3, Last Name, Audio 2.mp3, Last Name, Audio 3.mp3)
6 An application fee of US $25 submitted via the application form.

Did you try to submit your application to BCE's Composition Competition but receive an error message or a blank screen? If so, please try one or all of the following to complete your application:
1. Update your browser to the most recent version
2. Make sure javascript is enabled for your browser
3. Download Google Chrome
4. If all of these do not work, please email all of your attachments to and we will make sure that your application is submitted.
Thank you so much for your dedication to the competition. We are so excited to review all of this new music!

▪ Late entries
▪ Incomplete entries
▪ Illegible copies

Materials must be submitted on or before May 1, 2017. Questions should be directed to Late applications will not be considered.

The $25 application fee can be paid on the application form.
Application fees are non-refundable and will not be returned to those disqualified for not meeting the requirements herein.

The winner will receive a prize of $1,500. Payment will be in US funds only. Prize monies will be subject to applicable tax laws and it the responsibility of the winner to properly report the prize.
The performance in concert of the newly-composed work will be recorded on CD and/or DVD. One copy of any such recordings will be furnished to the composer.

No materials submitted for this competition will be returned.

The winner is encouraged to attend the final concert as well as any rehearsals for this event. Unfortunately, travel and accommodation expenses for the winner will not be covered by Boston Choral Ensemble.

The applications will be examined by a 4-5 person Jury chosen by Boston Choral Ensemble and will include the artistic director, a current member of the group, and one or two professional musicians not otherwise affiliated with Boston Choral Ensemble. The Jury will select a winner and identify any applicants deserving of an "honorable mention.” Boston Choral Ensemble, at the advice of the Jury, reserves the right not to award the prize. The Jury’s decision is final and may not be appealed.

Boston Choral Ensemble will publicly announce the names of the competition winner (and "honorable mentions", if applicable), no later than June 1, 2017. The names of non-winners will not be made public and will be held in strict confidence. Composers whose works do not win the prize will be informed no later than June 1, 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

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.

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.

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.

No academic credit is offered for participation in the workshops.

Housing costs are not included in the course fee. For housing options, please check and craigslist.

Directions to the CCRMA Workshop held at the Knoll, 660 Lomita Drive, Stanford, CA can be found here:

Parking costs are not included in the course fee. Parking information can be found at the Stanford Parking and Transportation website:

Nette Worthey
CCRMA Administrator
660 Lomita Drive
Stanford University
Stanford, CA 94305-8180
650-723-4971 x320

All workshops held at CCRMA require a $50 non-refundable registration fee.

 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.

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.

 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!

 European American Musical Alliance
Summary:Composition Course
Deadline: None
Date Posted: 14 February 2017
Details: The European American Musical Alliance’s Institute delivers our core philosophy by means of intense musical instruction. Our approach and philosophy is method-centric – transcending culture, aesthetic and time. Through a unique approach to contrapuntal principles, we observe the inherent function of sound across musical works and performances, formalize those functions and offer a method of analysis that becomes the bedrock for musical decision-making.

Our Institute offers summer music programs in Composition, Conducting and Chamber Music at the historic Schola Cantorum in Paris, France. These programs offer intensive study of the crafts of counterpoint, harmony, analysis, and musicianship as well as personalized training in composition, conducting and chamber music performance taught by professors from The Juilliard School, the San Francisco Conservatory, Mannes College the New School for Music, Westminster Choir College, the Paris Conservatory, the Ecole Normale de Musique de Paris and La Schola Cantorum.

Classes are held at La Schola Cantorum in Paris, founded in 1895 by the French composers Vincent d’Indy, Charles Bordes and Alexandre Guilmant to counteract the stifling atmosphere of the Paris Conservatory.

Important musical figures from all over the world have studied and taught at La Schola Cantorum, including: Eric Satie, Darius Milhaud, Edgar Varèse, David Diamond, Bohuslav Martinu, and Isaac Albeniz. Organists such as Louis Vierne, Olivier Messiaen, Maurice Duruflé, and Jean Langlais also passed through its hallowed halls.

La Schola Cantorum itself is an historic 17th Century ‘Hôtel Particulier’, originally constructed as a Benedictine Convent, conveniently situated in Paris’ Latin Quarter, the artistic heart of Paris. The Schola Cantorum boasts a fully operational original 1902 Cavaillé-Coll organ, Steinway concert grand, and its own private gardens.


For composers, our Institute offers the opportunity to discover your inner ear by means of a unique contrapuntal approach applied to every parameter of music. An intensive month-long study of counterpoint, musicianship, harmony, and analysis is lead by our faculty of master teachers whose own evolving method informs the way they impart their musical insight.

At the conclusion of your month-long study, you will be equipped with a bedrock of musical method certain to make you grow as a musician and inform your every interaction with music throughout your career.


 Masterclasses COMPOSITION
Summary:Masterclass and competition
Deadline: 18 May 2017
Date Posted: 14 February 2017
Details: MUSIC COMPOSITION masterclasses will be taught interchangeably by Prof. Ofer Ben-Amots (Colorado College, USA) and Prof. Jan Jirasek (Prague, Czech Republic)

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


All ISAM participating composers are invited to partake in an international competition annually. This competition is intended to increase the excitement, energy, and creativity among our hand-picked young and talented composers, while at the same time generate a harvest of new, beautiful, and highly artistic works. The competition carries the name and blessed memory of ISAM co-founder, composer, pianist, musicologist, teacher, and visionary leader, professor Joseph Dorfman (1940-2006.). Winning compositions will be repeated at the Gala Concert and prize giving ceremony.This years theme-motive is typical of A. Ginastera's musical language.

Prize money 2016

1st winner: 1000.- €
2nd winner: 500.- €
3rd winner: 250.- €

 Fresh Voices XVII Festival of New Works
Summary:Theatrical works
Deadline: 01 May 2017
Date Posted: 14 February 2017
Details: Goat Hall Productions is an organization of singers/actors, composers and writers passionate about contemporary opera, new music theater and song. We are dedicated to producing works that reflect and define the world around us in all its diversity while shining a light on the human spirit. We seek to collaborate with composers and librettists in the presentation of new works, provide opportunities for classically-trained singers to perform new roles, program works that are multi-faceted, melodic and accessible, presenting all works in ways that are thought-provoking and life-changing.

The title of the show is “2017”. We are looking for vocal works that resonate with the times. Works may be in any form: opera, musical theater, individual songs or song cycles not to exceed a total performance time of fifteen minutes. Works may be in any artistic style and in any language (subject to the availability of singers). Multi-cultural/multi-gender works are encouraged. Complete works are preferred but excerpts from larger works will be considered.

Goat Hall will select 4-6 vocal works for performance at Fresh Voices XVII. There will be four performances in Vallejo, California, at Bay Area Stage on Saturday/Sunday August 5-6 and August 12-13. All performances will be at 8:00PM. There will be eight rehearsals per work and rehearsals will occur on Saturdays and/or Sundays. There will also be two Friday dress rehearsals at the theater on August 4 and 11.

The production costs for the Festival are covered in part by grants, donations, and ticket sales; however, these sources are not always sufficient to fund the entire event. For that reason, composers selected to participate may be asked to share in covering any gap in production costs for rehearsals and performances. Costs will be prorated based on the length and complexity of the works and the number of singers required to perform them. Selected composers will be advised of all costs prior to committing to participate.

All composers living in Northern California are eligible to participate.

• Submit a printed copy of the final vocal score of a work that has not been professionally performed. Composers may submit one work only. Works may include 1-5 voices a cappella or with piano accompaniment. Materials submitted do not need to be anonymous.

(Works requiring instruments other than or in addition to piano will be considered, but the composer assumes responsibility for
securing and paying the additional musicians. The musicians must be able to meet the Festival’s rehearsal schedule.)

• Submit one CD with a MIDI or live audio/video recording of the work.
• If you are submitting excerpts from a larger work, you need only send the relevant portions of the score and a recording of those sections.
• Submit an info sheet which includes the title of the work, the composer’s name and contact information including address, phone, email address and website, and a 250-word bio. The info sheet should also include program notes up to 250 words for the work or for any extracts being submitted.
• If the libretto or texts used in the work are not in the public domain, then submit a letter from the copyright owner confirming permission for their use.
• Mail the printed score, recording, and info sheet by May 1, 2017 to:

Goat Hall Productions
Attn: Harriet March Page
189 Rainier Circle
CA 95687

• Composers will receive an email confirmation that their submission packages were received.
• Selected composers will be notified no later than May 30, 2017.
• Submitted materials for works that are not selected will be returned.

Email Harriet March Page at

Goat Hall Productions Fresh Voices Festivals are funded in part
by a generous grant from the Anne and Gordon Getty Foundation

 Nebula Ensemble Call for Scores
Summary:Chamber Call for Scores
Deadline: 01 June 2017
Date Posted: 14 February 2017
Details: Nebula Ensemble, Colorado’s adventurous young chamber ensemble, is seeking new works for its inaugural Nebula New Music Festival. With an emphasis on visually striking performances and cross-disciplinary collaborations, Nebula presents innovative programs at a variety of Front Range venues, and builds thriving collaborative relationships with local and international creatives.

Nebula Ensemble is committed to building the chamber repertoire through premiering new works. As such, all submissions must be previously unperformed publicly.

Submissions will be reviewed by Nebula’s music director, Kornel Thomas. At least two works will be selected for performances in Denver during the Nebula New Music Festival in spring 2018 and potentially other Colorado cities during the 2017-18 season. No monetary awards will be offered, but selected composers will receive a professional-quality audio and video recording and promotion on Nebula’s website and social media.

Nebula Ensemble is passionate about interdisciplinary collaboration and is planning collaborative programs with various other art forms. Therefore, works that fit interdisciplinary themes, such as the following, will be given special consideration:

• Works with narrator or works accompanied by a poem.
• Works inspired by a work of visual art to be displayed during the performance. • Works inspired by the landscapes or history of the Rocky Mountain region.
• Works that can be choreographed for dance.

Works should be 5-10 minutes in length, scored for a chamber ensemble of 5-8 performers, with conductor, drawn from the following instrumentation: flute (piccolo), clarinet, trumpet, saxophone, violin, cello, percussion, electronics. (The following percussion instruments are available: xylophone, drum set, tambourine, triangle, sleigh bells, hammered dulcimer, bodhran, likimba.) Works incorporating electronics should be formatted for stereo diffusion only. Works requiring special equipment or software should be approved by before submitting.

Submissions should include:
• Score, computer engraved, in PDF format.
• Audio recording or MIDI realization is encouraged but not required.
• Brief composer bio (max. 300 words)
• Brief program note or background on the piece (max. 300 words)

Send all materials by email to with the subject line: ‘Call for Scores (Name of Composer)’. e.g.: Call for Scores (John Smith)

Deadline for submissions is June 1, 2017. Results will be announced by September 1, 2017.

Summary:Residency Opportunity
Deadline: 19 June 2017
Date Posted: 14 February 2017
Details: A residency for emerging composers worldwide, to be held in Melbourne on 5th to 11th of November 2017.

Keep Composer's Weird provides an opportunity for selected composers from around the world, ages 21+, to submit a newly composed work that is to be rehearsed, recorded and performed at a concert in Melbourne. Each composer will work with an established Melbourne ensemble to workshop their composition and the performance will take place on Saturday 11th of November.

The performance will be promoted to showcase each composer and conferences, panels, and mixers will be held at various venues across Melbourne to provide networking opportunities. In addition, for 5-6 days, each composer will participate in lectures, networking events and establish professional relationships with colleagues in the Australian music and arts industry. Participants will be provided with housing (house includes full kitchen, living room, Wi-fi, TV, A/C etc), catered breakfasts, lunches.

The residency is held in between Melbourne Festival and Melbourne Music Week, a great time to discover the live music capital of Australia.

Participants (tuition + housing + two meals per day): $2,000 AUD
Application should be sent by email to by 19th of June 2017
Please send the following information:
a. Name
b. Birth date
c. Nationality
d. CV/biography
e. Short paragraph talking about yourself (i.e – interests, goals, etc)
f. Two letters of recommendation
g. website or other online material (soundcloud/youtube/blog)

2) PDF files of two of your works with recordings or midi (if available)

3) $20 (AUD) application fee payable by paypal to

19th of June 2017 - Application deadline
3rd of July 2017 - Announcement of results
17th of July 2017 - Notification to reserve spot in program
5th of August 2017 - Selected participants will receive instrumentation for their works
5th of October 2017 - Deadline for sending finished composition
5th of November 2017 - Arrival and accommodation in Melbourne
11th of November 2017 - Performance
12th of November 2017 - End of residency and check out of accommodation in Melbourne

The first Keep Composer's Weird was hosted by U.S composer Nathan Felix in Austin, Texas and was a huge success - below is a recap of the residency.

2016 Recap of Keep Composers Weird

The first official Keep Composers Weird in 2016 was a huge success. KCW was officially sponsored by the Texas Music Office, Backspace Pizza, Heineken, Chameleon Cold Brew, Visit Austin & The Austin Music Video Festival. The official composers were Kitty Xiao (AU), Gabriel Bolanos (NI), and Scott Shell (US). Their recorded works will be posted when the final mix and masters are completed. Here are some photos that include the live performance, recording at Cacophony, interview at KOOP radio, meet and greet with Graham Reynolds and a lunch at Backspace Pizza. Stay tuned for information on how to apply for Keep Composers Weird 2017.

 Barlow Prize
Summary:New Work for Quintet
Deadline: 01 June 2017
Date Posted: 08 February 2017
Details: The winning composer will receive a $12,000 commission from the Barlow Endowment to compose a major new work for Reed Quintet. The winning composer’s work will be premiered in 2019 by a consortium of three quintets: Akropolis (Michigan), BYU (Utah) and the Calefax (Netherlands).

The 15-20 minute work is expected to meet the highest artistic requirements for the medium. Additional specifications for the work will be negotiated among the Barlow Endowment, the composer, and the performing consortium.

There are no restrictions with regard to musical style, nationality, age, gender, race, religion, or political persuasion. The only limitations are:

1) Composers who have won the Barlow Prize in the previous five years will not be considered in the Prize competition.

2) Members of the Barlow Boards are not eligible.

For more information:

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.


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


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:

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

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
The Black Pencil Prize will be awarded to new compositions making use of the full instrumentation of the ensemble together with harpsichord.


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: Your entry must be both in: - Pdf
- Mp3


Guus Janssen ( Wim Hendrickx ( Roderik de Man ( 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!

 Australian International Chopin Piano Competition Composition Competition
Summary:Piano Composition Competition
Deadline: 12 May 2017
Date Posted: 08 February 2017
Details: The Australian International Chopin Piano Competition Composition Competition seeks to promote the continuing legacy of the music of Fryderyk Chopin, and to promote young Australian composers by providing an opportunity to compose an original work for piano, based on a work of Chopin's.

In each edition of the competition, a specific work of Chopin's is chosen to form the inspiration of the new work, and the winning composition is included in the Piano Competitition as mandatory repertoire.

Please see the Requirements tab for information about the 2017 Competition.

Source Material:
Fugue in A Minor Op. Posth. (Paderewski Edition Vol XVIII)

Between 10 and 15 minutes long.

Guidance for Competitors:
• Applicants can use whatever they wish from the Fugue as raw material for a new composition for solo piano.
• The new work is not intended as a copy of the Chopin style, rather, on the contrary, we want something new and musically demanding.

Emeritus Professor Larry Sitsky AM

Competitor Requirements:
• Open to all composers who turn 36 no earlier than 1 January 2018, and who are Australian citizens living in Australia or overseas, Australian residents living in Australia , or non-residents domiciled in Australia for at least 5 years.

The prizes for the winning composition are as follows:
• $2,000 (AUD)
• The winning composition becomes mandatory repertoire for the 3rd edition of the Auwstralian International Chopin Piano Competition 2017.
• A residency at one or more institutions in Poland to include at a minimum the Penderecki Centre in Lusławice. The specific details of the residency/ies will be arranged in consultation with the winner.
• A commission from the Friends of Chopin Australia for one of the laureates of the 3rd edition, to be agreed in consultation with the composer, the laureate and the Friends of Chopin Australia.

• No more than one composition per applicant can be submitted.
• Participation in the Competition is conditional on a candidate submitting the required contact information and documentation confirming the validity of the application.
• The final date for receipt of applications is 11:59PM (Australian Eastern Time) on 12 May 2017. Applications received after this time will not be considered.
• Applicants will be notified of the receipt of their applications. If an applicant is unsure if their application has been received, the applicant is responsible for confirming this with the Competition office by emailing
• The jury reserves the right to request additional information from applicants.
• Submission of a valid application constitutes acceptance by the applicant of all competition rules and regulations.
• Composition must be submitted in performance ready, printable, digital format.
Selection and Prize
• The decisions of the jury are final and are not subject to appeal. No correspondence will be entered into.
• All applicants will be advised of the outcome of the competition by email no later than COB 26 May 2017.
• If awarded the prize, the winning composer’s piece will be placed into the 3rd Australian International Chopin Piano Competition as mandatory repertoire.


 72nd Geneva International Music Competition
Summary:Concerto Composition Competition
Deadline: 04 May 2017
Date Posted: 08 February 2017
Details: The 72nd Geneva International Music Competition will be presenting composition.
This discipline pursues the tradition of the Queen Marie José Prize and aims at encouraging and promoting contemporary creation and supporting a high-quality performance.

The Composition Prize is supported by the Foundation Reine Marie José

The 72nd Geneva International Music Competition will be presenting composition. This discipline pursues the tradition of the Queen Marie José Prize and aims at encouraging and promoting contemporary creation and supporting a high-quality performance

The Geneva Competition's Composition Prize will be awarded in November 2017.
Its objective is to distinguish a new work that has been composed at the earliest after May 2014.
The competition is open to composers of all nationalities born after May 1st, 1977 (40 years old). Composers who have already won the Queen Marie Jose International Music Composition Prize or the Geneva International Music Competition's Composition Prize are not eligible to take part in this competition.

The subject of the Composition Prize 2017 is a Concerto for Clarinet and orchestra, composed after following specifities:

The concerto must last between 15 and 20 minutes.
The work must be written for traditional solo clarinet (in A or B flat), without use of special instruments.
The work must not use any electronic device.
The orchestra set must imperatively be comprised within the following frame:
3*.3*.3*.3* - – harp – keyb. (1) – perc (3) – Strings :
One musician may play several keyboard instruments.
Concerning percussion, please insert the detailed list of required instruments.
The prize-winning work will then be performed during the final round of the 2018 Clarinet competition.
The musical score may be hand-written or in electronic form, but must be perfectly legible.

The registration deadline is May 4, 2017. Candidates may register directly on our website.
Registration will not be considered as final until the following documents have been received (to be uploaded via registration page, or sent by post or by email) :

Three musical scores (or one electronic file), with a title or a motto, all completely readable, without the least mention of the composer, since the candidate must remain anonymous for the Jury.
As well as the following documents:
Official proof of the candidate's age (birth certificate or passport photocopy)
Your resumé (studies taken, institutions, teachers, professional activities)
Two different and recent high-quality photos in color (id-card format not accepted). Please name the files by your name (and not “pict003.jpg or IMG_002.jpg")
Proof of payment of the registration fee. In case of payment through our website, the proof of payment is not required.
A commentary (in French, German or English) on the work presented
Authorization for its performance and broadcast
All documents may be uploaded directly on the registration page of the Geneva international music competition, or sent by email or by post-mail.

Amount of the fee: the registration fee is CHF 100 (one hundred Swiss francs) payable in a single instalment. Payment should be made to:
Banque Cantonale de Genève
Quai de l’Ile 17
Case postale 2251
CH - 1211 Geneva 2

IBAN N°: CH 33 0078 8000 S 077 6119 5
Account N°: S 776.11.95
Clearing: 788
Account holder: Concours de Genève

Payment terms: Payment can be made by wire bank transfer or by credit card (Visa or Eurocard/Mastercard) directly on our website.
Cheques are not accepted.
The registration fee is not refundable under any circumstances.

In early June 2017, the official Jury will examine the compositions received and whose files are compliant with the rules. The Jury will choose at the most 3 finalists' works to be publicly performed in Geneva in November 2017 by international soloists, accompanied by Geneva Chamber Orchestra, together with musicians from Geneva University of Music Orchestra.

The results of the selections will be posted on the website at the end of June 2017. Finalists will receive a personal confirmation.

The Geneva Competition offers the following official prizes:

First Prize: CHF 15,000.-
Second Prize: CHF 10,000.-
Special Prizes are available as well:

Audience Prize: CHF 1,500.-
Young Audience Prize: CHF 1,000.-
Student Prize: CHF 1,000.-
The Audience Prize is awarded by the audience at the Final performance.
The Young Audience Prize is awarded by young students of the Geneva music schools.
The Student Prize is awarded by student in Musicology at Geneva University.

The Jury may also decide not to award all the Prizes. Its decisions are taken by an absolute majority vote of its members, and the President has the casting vote in case of an equality of votes.

The prizes, awards and diplomas signed by the President of the Jury as well as the President and the Secretary-General of the Geneva Music Competition, will be presented to Laureates during the prize-giving ceremony, which takes place at the end of the Final concert, on November 26th, 2017.

The Geneva International Music Competition's Artistic Committee is solely responsible for appointing the 5 members of the international Jury. They are chosen for their international reputation in the world of music, independently of any racial, ideological, political or linguistic considerations.

The Jury’s decisions cannot be appealed. By agreeing to take part in the competition, all competitors undertake to accept and not contest these decisions.

2017 Jury members:

Mathias PINTSCHER, Germany, President
Unsuk CHIN, South Korea
Xavier DAYER, Switzerland
Magnus LINDBERG, Finland
Ichiro NODAÏRA, Japan

The prize-winning work remains the full and complete property of its author, who takes personal written responsibility for allowing it to be performed and broadcast, free of any rights (with the exception of copyright and editing right), particularly during the 2018 Clarinet competition.

Laureates waive all and any rights to audio/video recordings as well as radio/television/internet broadcasts of public cessions of the Geneva Competition, as well as further use of pictures or videos from themselves, taken during the Geneva Competition.

Documents will not be returned to the sender.


 The 2nd Peter Rosser Composition Award 2017
Summary:Quintet Competition
Deadline: 28 April 2017
Date Posted: 08 February 2017
Details: We are delighted to announce that the 2nd Peter Rosser Composition award is now open.

We wish all the composers planning to submit the very best of luck and look forward to seeing your scores by the deadline.

Deadline for submission: 4pm Fri 28th April 2017

3 prizewinning composers will be shortlisted by Fri 12th May 2017
and the shortlisted composers will be informed by email.

All shortlisted works will be workshopped, performed and recorded (as well as video streamed) by Hard Rain SoloistEnsemble at a special event in Red Box Recording Studio, Belfast on Fri 26th May 2017.

Submission to the award is open to composers born or domicile in N. Ireland and Republic of Ireland. The competition is open to composers regardless of age. However, the award is aimed at emerging composers. The organisers, therefore, welcome submissions from composers at the start of their careers.

The following awards will be bestowed:
• 1ST PRIZE £1,000
• 2ND PRIZE £500
• 3RD PRIZE £250

1.1 All submitted compositions should not have been performed before, must not be published and should be written speci cally for the 2nd Peter Rosser Composition Award and the Hard Rain SoloistEnsemble.
The following statement must appear in a preface page of the score:
“This score was written for submission in the 2nd Peter Rosser Composition Award 2017 and for the Hard Rain SoloistEnsemble”.

1.2 Compositions must use all 5 of the following instruments: Violin,Cello,Flute (optional doubling picc & alto), Bb Clarinet (optional doubling bass clarinet) and piano. Scores that di er in any way from this instrumentation will not be admissible. The use of electronics or a tape element is not permitted.

1.3 The composition should be between 5 and 8 minutes duration and should state the exact duration in the preface page.

1.4 Only composers who can attend the workshop and performance in Belfast on Friday 26th May 2017 will be eligible for the award. A travel bursary for composers traveling to the event from within NI and ROI will be made available through the Contemporary Music Centre, Ireland.

1.5 The decision of the jury in relation to the shortlisting of works and the bestowing of awards is final. No further correspondence will be entered into.

1.6 The jury reserves the right not to make awards where it feels a minimum required standard has not been met.

1.7 Only one piece may be submitted by a composer.

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:

 The Choir of Christ's College, Cambridge
Summary:Choir Competition
Deadline: 01 May 2017
Date Posted: 08 February 2017
Details: Exciting news of a new composition competition. Notice of Prize Competition
Christ’s College Grace Composition Prize

To all members of Christ’s College past and present:
The choir alumni of 1982 are sponsoring a competition open to all members to compose a choral setting to the Latin College Grace.
The winning entry will receive a prize of £200, and the setting will be performed by an alumni choir at the College Reunion Dinner on 23 September 2017.

The closing date for entries is May 1st 2017, and the winner will be announced in late May.

Full details of the requirements are attached.

Christ’s College
Grace Composition competition

Entry eligibility:
All members of Christ’s College, Cambridge

Entry deadline:
1 May 2017

Entrants should provide a choral setting of the Latin College Grace, set to the text below.
The four-part arrangement should be for unaccompanied SATB choir.
The intention is for a choir of former Christ’s choristers to perform this piece with minimal rehearsal opportunity. It should therefore be of a standard that enables a competent group of choristers to perform it after two run-throughs.
The length of the piece should be compatible with a pre-dinner grace.

Grace text:
Exhiliarator omnium Christe
Sine quo nihil suave, nihil jucundum est:
Benedic, quaesumus, cibo et potui servorum tuorum,
Quae jam ad alimoniam corporis apparavisti;
et concede ut istis muneribus tuis ad laudem tuam utamur gratisque animis fruamur;
utque quemadmodum corpus nostrum cibis corporalibus fovetur,
ita mens nostra spirituali verbi tui nutrimento pascatur
Per te Dominum nostrum.

Competition logistics:
Entries must be sent by email to Dr David Rowland, College Director of Music, by 5.30pm on 1 May 2017 (
The judging panel will comprise Dr Rowland and alumni representatives. We hope that the college choir will sing shortlisted entries at an adjudication in May 2017 at which the winner will be announced, date yet to be confirmed.
The winning piece will have its first public performance at the alumni reunion dinner on 23 September 2017.

The College will own copyright in the setting.

The composer of the winning entry will receive a cash prize of £200 and an appropriate certificate.

 Spheres of a Genius. 100 years of Thelonious Monk.
Summary:Call for Scores / Composition Competition
Deadline: 01 June 2017
Date Posted: 08 February 2017
Details: A jazz composition competition by JAM MUSIC LAB in cooperation with the Vienna Radio Symphony Orchestra.

To celebrate the occasion of the 100th birthday of Thelonious Monk, JAM MUSIC LAB - Conservatory for Jazz and Popular Music Vienna is organizing an international composition competition. In cooperation with the Vienna Radio Symphony Orchestra, which will be extended to include jazz soloists, the prize-winning work will be premiered on July 7th, 2018 in the Golden Hall of the Vienna Musikverein.

1st prize: The winning composition will be premiered by the Vienna Radio Symphony Orchestra and Jazz Soloists in the Golden Hall of the Vienna Musikverein on June 7th, 2018 and broadcasted as part of the Ö1 radio programme.

The prize money is 5.000 EUR.

2nd prize: 3.000 EUR

3rd prize: 2.000 EUR

Idea and outline of the competition
Thelonious Monk was one of the most innovative artists in jazz music, whose contribution opened up exciting new avenues for this music. As Monk also utilised a vocabulary that was also being used by contemporary classical composers, the competition is supported by the Vienna Radio Symphony Orchestra.
Monk and the core repertoire of the RSO Wien are close to each other in many respects. JAM MUSIC LAB has developed the idea of "Spheres of a Genius" in honor of the 100th birthday of one of the most important personalities of modern jazz and is responsible for the realization of this competition.

The aim of the contest is to create music that will reflect the spirit of Thelonious Monk from a contemporary perspective; to provoke inspiration for further innovation, originality and musical communication in contemporary jazz. The composition should be intended to offer a demanding and an up-to-date podium for the exploration of exciting interrelationships of jazz in its composed, as well as improvised forms. The "Sounds" and "Spheres" in the unmistakable musical innovations of Monk are very much prevalent in the possibilities that composed music offers us, especially when a large orchestral composition calls for the orchestra to interact with jazz idioms and jazz musicians.

 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

All submissions must be received via email ( 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,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.

 Leith Hill Musical Festival Competition for Composers
Summary:Choral Competition
Deadline: 01 July 2017
Date Posted: 08 February 2017
Details: This renowned Choral Festival now in its one hundred and twelfth year provides a wonderful opportunity for hundreds of amateur singers. Each year twelve local choirs join together over three days to sing in competition and then perform concerts of music by some of the great composers of yesteryear and always some living composers. The Festival is very keen to support new music and to this end is launching this competition.

Entries are invited from UK resident composers of any age. The music must be written for TBB voices and piano and the text must be in English. Three prizes will be awarded and the winner will have his or her work performed in the Leith Hill Musical Festival. The entries will be judged by Jonathan Willcocks, Festival Conductor and another member of the LHMF Music Committee.

Full details of the competition can be found on the LHMF website:


 The Cypress Symphonic Band 4th Annual Call for Scores
Summary:Band Competition
Deadline: 01 May 2017
Date Posted: 08 February 2017
Details: Entry Fee: None

Open to: Emerging composers, regardless of age or nationality

Prize: Selected compositions will be performed by the Cypress Symphonic Band, a volunteer community wind ensemble based in Houston, Texas.
Theme: The theme for this season is Monsters, Myths, Legends, and Heroes. Preference will be given to those works that can be considered to match the theme.

Deadline: May 1, 2017

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

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

· Instrumentation: Works must be for standard wind ensemble and will adhere as closely as possible to the following instrumentation: 1 Pic.[opt], 2 Flute, 2 Oboe, 2 Bssn, 1 Eb Clar. [opt], 3 Bb Clar., 1 Bass Clar., 1 Contra Alto Clar., 2 Alto Sax., 1 Tenor Sax., 1 Bari. Sax., 4 Horns, 3 Trpts., 2 Trbn., 1 Bass Trbn., 1 Euph., 1 Tuba, 1 String Bass, Perc. [opt]. The work may include piano and/or harp. Scores with minimal percussion parts (up to four players) will be given preference.
· Composer: There is no age restriction. Preference is given to those composers who do not have a track record of performances by university or professional wind ensembles.
· Duration: There is no maximum or minimum duration, but preference is given to works
between 4 and 10 minutes in length.
· Difficulty: All difficulty levels are acceptable, but preference is given to those works that would be considered grade 4 or 5 by the standards of the latest Texas University Interscholastic League Prescribed Music List.
· Prior Performance: Works may not have been publicly performed. Reading and/or recording sessions for the purposes of submission are acceptable. The performance of the winning entries by the Cypress Symphonic Band will be considered world premieres, and will be marketed as such.
· Published (including self-published) works will not be accepted.
· Audio Files: Composers are strongly encouraged to include links to some sort of audio realization (MIDI, live performance, etc.) of their scores.
· Number of Entries: Composers may submit as many entries as they wish, each under separate cover.
· Age of Works: Entries must have been composed after Dec. 31, 2015.
· Copyright: The entrant must be the sole owner of the work being submitted, and is the responsible party in the case of any disputes. All copyrights will be retained by the composer. No arrangements will be accepted—only original works. The owner of the work agrees to limited performance and mechanical rights without payment of royalties to the Cypress Symphonic Band for a single live performance and the sale and distribution of demonstration recordings. The copyright owner also agrees to allow the band to place a copy of the recording on their website for a limited time for public access. Any recordings provided to the copyright owner by the Cypress Symphonic Band may be used by the copyright owner in perpetuity without restriction.
· Prize: The judging panel will select up to eight works to be performed and recorded during the 2017-2018 season, and a recording of the performance, if available, will be provided to the composer. Additionally, outstanding works will be offered the opportunity to publish through Avalon Press. The panel reserves the right to select no entries if none are acceptable. Second Round composers will be informed prior to June 1, and will be invited at their own expense to attend the performance of their work. Upon notification of a winning entry, all performance materials must be submitted in PDF format by June 15, 2017.

· Submission deadline: May 1, 2017

Please submit all materials electronically (pdf/mp3 format only. No Soundcloud links, please.) to:

Please contact Clancy Weeks with any questions regarding the submission requirements, and place CSB Submission in the Subject line.

Contact Information: Clancy Weeks

Deadline: 1 May 2017

 The Joliet Symphony Orchestra at USF’s Composition Competition 2017
Summary:Community Orchestra Competition
Deadline: 01 June 2017
Date Posted: 01 February 2017
Details: The JSO seeks to broaden the repertoire for college/community orchestras,
recognize outstanding composers, and bring new music to our audiences.

​The winning piece will be performed on a JSO concert during the 2017-2018 season.
Honorable Mentions will be awarded as well and considered for performances on future concerts.

The Piece:
- suitable for a college/community orchestra
- length under 10 minutes
- instrumentation not to exceed 3232/4331/Tp+2/Hp/Str
(piccolo, English honr, and bass clarinet doublings are allowed)
- written in 2010 or later

The Composer:
- no age limit
- no geographical limit
- no entry fee
- limit 1 submission per composer

Beyond standard criteria (idiomatic writing and orchestration, lack of notational errors, etc.),
the following traits will be valued:
- sensitivity to the variety of skill levels in college/community orchestras’ string sections
- rewarding parts for all players, especially those with traditionally less-involved parts

To Enter
Email the following materials to by April 15, 2017 11:59 p.m. CST:
- contact information: name, email address, phone number
- PDF of full score
- PDF of first violin part
- link to recording of live or MIDI performance (if available)

Announcement of Winners
Winners will be announced on June 1. The first-prize winner is expected to submit PDFs of all parts by July 1.

 Fifteen-Minutes-of-Fame: Admiral Launch Duo
Summary:Duo competition
Deadline: 01 May 2017
Date Posted: 01 February 2017
Details: Fifteen-Minutes-of-Fame: Admiral Launch Duo, saxophone & harp

Vox Novus is calling for one-minute pieces composed for saxophone and harp duo. 15 one-minute works will be selected for Fifteen-Minutes-of-Fame: Admiral Launch Duo, saxophone & harp to be premiered December 1, 2017 at Bezanson Recital Hall of the University of Massachusetts, Amherst.

Submission Guidelines:

-Works should be composed specifically for this project and performers.

-Works should be for saxophone (tenor, alto, soprano) and concert grand harp duo only. No solos.

-Electronics/tape accompaniment will be considered. Please submit your playback only in AIFF format (no other formats will be accepted for playback). Clearly state in your performance notes and on the score that the work is with electronic playback.

-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!

-Works need to be submitted online at

-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: Admiral Launch Duo, saxophones & harp " 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.) -Include individual parts as part of the score.

-Please include the dedication to Admiral Launch Duo 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.

The Admiral Launch Duo explores new sounds for harp and saxophone.

Equally at home in acoustic and electroacoustic settings, saxophonist Jonathan Hulting-Cohen and harpist Jennifer R. Ellis have developed their repertoire through ground-breaking commissions, unexpected transcriptions, and improvisation. They have collaborated with composers including Dylan Arthur Baker, Matthew Browne, Christine Hedden, Jasper Alice Kaye, Natalie Moller, Patrick O'Malley, and Stephen J. Rush. Fresh Inc. Festival alumni and three time residents at Avaloch Music Institute, the Admiral Launch Duo has toured through Michigan, California, and the Northeastern U.S. Committed to creative scholarship, they have presented at the inaugural Northwestern University New Music Conference (NUNC!), North American Saxophone Alliance Biennial Conference, and the Humanities Education and Research Association Conference. They are upcoming fellows of the UMass Interdisciplinary Studies Institute, exploring musical themes of trespass. The Admiral Launch Duo enjoys working with students of all ages and has worked with high schoolers on both coasts of the United States as well as given masterclasses at Michigan State University and Schenectady County Community College. They take a comprehensive and versatile approach to community engagement, playing for the University of Michigan Social Justice Art Festival, UM-CAPS Suicide Prevention event, and The Friendly Kitchen, a soup kitchen in Concord, New Hampshire. Their 2015-2016 season included appearances at Center for New Music (San Francisco), Michigan State University, The Hartt School, Kerrytown Concert House (Ann Arbor, MI), Schenectady County Community College Chamber Music Series, UMass Amherst, Listening to Ladies Concert Series at Kalamazoo Piano Company, North American Saxophone Alliance at Texas Tech University, Harps Etc. (Walnut Creek, CA). As recent awardees of the FRG/Healy Grant, they will be recording their debut album for release in 2017.

Committed to pushing the boundaries of harp performance, Jennifer R. Ellis (D.M.A. University of Michigan, M.M. Cleveland Institute of Music, B.M. Oberlin) has performed over fifty premieres. She was the first ever harpist to be named a One Beat Fellow, a program through the U.S. State Department with Found Sound Nation, and the first ever harpist to attend Bang on a Can, Fresh Inc., and Splice summer festivals. She has received the Alice Chalifoux Prize, Rackham Centennial and Graduate fellowships, AT&T Foundation and Conservatory Deans' scholarships, and holds prizes in the Ann Arbor Society for Musical Arts, Coeur d'Alene Young Artists, LMC of Seattle, and Inez Stafford competitions. She has played with Britten Pears, Spark Festival, American Wind Symphony Orchestra, National Orchestra Institute, and Texas Music Festival. She performs with Jonathan Hulting-Cohen in contemporary harp and saxophone ensemble, the Admiral Launch Duo, three-time Avaloch residents with a debut recording funded by a UMass FRG/Healy grant set to release in 2017. She has published in The American Harp Journal and Harp Column Magazine and teaches harp and eurhythmics. An inaugural UM Engaged Pedagogy Initiative Fellow, Ms. Ellis trained in community-based learning and collaborates on a variety of community engagement projects. She is an in-demand clinician and has given over a dozen university masterclasses/guest workshops in 2015-2016.

"Impressive" with "exceptional facility (Schenectady Daily Gazette), Jonathan Hulting-Cohen's refined and compelling saxophone playing has been heard worldwide. As a soloist, he has performed with the Philadelphia Classical Symphony and Tulare County Symphony Orchestra, and in recitals across the US and France. His nouveau-vaudeville saxophone sextet, _The Moanin' Frogs_, has appeared nationwide in concert and on television, including at The Kennedy Center, Texas Bandmaster's Association Conference, and in Strasbourg, France. His harp-saxophone duo, _Admiral Launch,_ has toured coast-to-coast and recorded for NAXOS. He studied Carnatic music in India, and premiered his film, _Silence,_ at the World Saxophone Congress in 2015. Jonathan is Assistant Professor of Saxophone [2] at University of Massachusetts Amherst. He earned his BM and MM under Donald Sinta at the University of Michigan. Jonathan is a Conn-Selmer and D'Addario Woodwinds Artist, performing on Selmer (Paris) saxophones and D'Addario Reserve reeds.

Summary:Flute competition with 4 categories
Deadline: 01 June 2017
Date Posted: 01 February 2017
Details: The Flute New Music Consortium promotes new works by talented composers through an annual composition competition. This year's competition will feature four categories for submission.

Competition Categories:
Solo Flute: Submission deadline: June 1, 2017. 11:59 CST
• Works in this category must feature solo flute.
• Instruments in the flute family (piccolo, alto flute, bass flute, etc.) will be accepted.
• Works for flute and electronics are not appropriate for this category.
Flute and Accompaniment. Submission deadline: July 1, 2017. 11:59 CST
• Works in this category must feature the flute and either piano or electronics.
Flute Duo. Submission deadline: August 1, 2017. 11:59 CST
• Works in this category must include flute and one other instrument.
• Works for flute and piano or flute and electronics are not appropriate for this category.
Chamber Works. Submission deadline: September 1, 2017. 11:59 CST
• Works in this category include flute in some capacity.
• Chamber works should utilize between three and six performers.
• All instrumentations will be considered, but works for flute ensemble (flute quartet, flute trio) are strongly encouraged.

• Entries must use the flute in some capacity. There is no age limit, and composers are permitted to submit up to three works per category
• Suggested Length: 5-12 minutes
• Submission of Materials:
• Online application and entry fee ($13 per score). A $1 convenience fee per score will be assessed for payments submitted through the website. Scores should not contain identifying markings. This includes pseudonyms, dedications, and commissioner names.
• Multiple Entries: Composers may submit no more than three entries per competition category.
• The winning composer from each competition category will receive a $250 (USD) prize, one or more performances, and a live recording from one or more of the performances.

Entry Information:
All entries must include:
• Scores with no identifying markings in either the file or the file name. This includes pseudonyms, dedications, and commissioner names.
• Scores must be created in Finale, Sibelius, or some other type of music entry software program
• All score submissions must be in PDF file format
• Live or MIDI recordings of each entry, with no identifying markings. This includes names of performers and composers in the file name as well as the metadata.
• All recordings should be submitted as mp3 files.
• Application information: name of composer, contact information, title of piece, instrumentation of piece, composer website (if available)
• Payment confirmation number
• Multiple movement scores should be submitted as a single PDF file
• Multiple movement works should be submitted as a single mp3 file

An entry confirmation will appear at the time of submission. An email confirmation will not be sent.

Selected winners give FNMC members rights to perform and record their works for up to six years without further compensation. Selected winners consent to one video interview, to be shared with FNMC members and in FNMC marketing materials.

Incomplete applications or applications with identifying markings will be disqualified. Entries submitted without the payment confirmation number will be disqualified. Entries received after the deadline will not be considered. Entries which do not include an audio file in mp3 format will be disqualified. Previously winning pieces are not eligible for re-entry.

 Ensemble de la Belle Musique Call for Scores 2017
Summary:Themed Call for Scores
Deadline: 30 June 2017
Date Posted: 25 January 2017
Details: The Ensemble de la Belle Musique (EBM) is pleased to announce its inaugural “Call for Scores”. The theme is “Christmas”.

Composers are encouraged to submit works for any combination of the following instrumentation, ranging from solo to a maximum of 15 instruments:

4 violins, 2 violas, 2 cellos, 2 double basses, 1 flute, 1 oboe, 1 clarinet, 1 bassoon, 1 saxophone, 1 trumpet, 1 horn, 1 trombone, 1 tuba, 1 percussion (marimba OR vibraphone OR glockenspiel), 1 piano

For example: 1 viola + 1 flute + 1 marimba, or a string quartet formation.

The selected works will be performed by EBM on Monday, 18th December 2017, 7.30pm at the Esplanade Recital Studio in Singapore. Any composer is eligible, regardless of age and nationality. Each work must not be more than 10 minutes. There is no minimum duration. ONLY melodious and tonal works will be accepted. Atonal and electronics works will NOT be considered. Every work must be a world premiere, and specially written for and dedicated to “Ensemble de la Belle Musique”. Works which have already been uploaded onto social media platforms such as YouTube, Facebook, Instagram or iTunes will not be considered. Submitted scores will not be returned and may be kept for future use.

There is no fixed style. Please use your imagination and creativity to write music so beautiful and pleasant to the ears that the musicians would love to play them over and over again and the audience would love to hear them over and over again.

There will be audio and video recordings of the concert, and the recordings will be put up on our website. We strongly encourage composers of the selected works to travel to Singapore for the performance. Hotel lodging for 3 days 2 nights will be provided.

Submission Guidelines:

There is an entry fee of USD20 for the first work. Additional entries may be submitted for USD10 each. Each composer can submit up to 3 works but each work must be submitted as a separate entry. Each entry must be emailed in pdf format to with the subject heading: “EBMCFS2017 - Title of work” along with:

a. An info sheet in pdf format with the composer’s name, title of the submission, duration of the work, short bio, short write-up of the submitted work and contact information. NO handwritten scores will be accepted. Please use either Sibelius or Finale software.

b. Receipt or screenshot of completed PayPal payment. For submissions of up to 3 works, just one receipt or one screenshot of completed Paypal payment will do.

c. Mp3 or midi recording of every work submitted.

All submissions must be sent and fees paid by 11:59pm, Singapore time, on 30th June 2017. Entries and payments received after this date will not be considered. The winning works will be announced latest by 30th July 2017. The decision of EBM is final. The results will be announced on our website and across our social media platforms. Enquiries can be sent to


The submitted compositions must be free of any rights. Non-selected candidates will have full ownership of their works and will be allowed to perform their compositions once the results have been released. In contrast, selected candidates are NOT allowed to interpret their selected compositions in any way before and on the day of EBM’s Christmas concert on 18th December 2017.

The selected composers retain their ownership of the copyright for their selected works but they have to grant EBM irrevocable right to use and perform the works at any time without further compensation to them.

Deadline: 30th June 2017, 11.59pm Singapore time

Entry fee: USD20 per submission

USD10 for additional submission of up to 3 submissions per composer

Currency: US Dollars

 Coma Summer School
Summary:Summer School Opportunity
Deadline: None
Date Posted: 25 January 2017
Details: Through music...

With wind, string, orchestral, vocal ensembles and workshops in composition, contemporary piano, music theatre and on-location sound recording projects. Plus a programme of concerts and première performances in Stromness, Kirkwall, St Magnus Cathedral and the Orkney landscape.

... and exploration

In Scotland’s Year of History, Heritage and Archaeology and the 900th Anniversary of the Death of St Magnus. With guided tours and time to travel by land and sea through Orkney’s archipelago of wild landscapes, nature reserves and world heritage archaeological and historical sites.

Music making
The Summer School offers instrumental and vocal ensembles together with a range of workshops, talks and walks, concerts and opportunities to experience, respond to and interact with the landscapes of Orkney, including:
• Interpreting and performing four Summer School commissions, Open Score works by composers Samantha Fernando, Drew Hammond, Vasiliki Legako and Bill Sweeney for contemporary music ensembles
• Joining with local musicians – in a Choral Ensemble directed by James Weeks and a Symphony Orchestra conducted by William Conway – to rehearse and perform works inspired by Orkney and the Scottish islands
• For the string orchestra, focussing on game-changers – composers who have contributed to the transformation of western music and the string repertoire , from CPE Bach and Beethoven to Webern and Arvo Pärt
• Also the chance to premiere Bee Haven, a new work written by James Weeks specially for the Summer School strings
• Chris Watson ( introducing his work and location-based artistic practice in Acoustic Landscapes, with recorded examples, including works related to Orkney
• Exploring the sounds of the unique no man’s land between the tides of Orkney’s island shores in Turn of the Tide
• Using hydrophones Below Sea Level, revealing something of the songs and signals which occur under the surface of the largest and most sound rich environment on the planet
• Developing ideas artistically and technically through critical analysis of field recordings in post-production sessions
• Imagining the world of Stone Age Sounds and interpreting these within the Orkney landscape itself with James Weeks and Chris Watson
• Using the practice of Deep Listening in midweek walks with ornithologist Laurence Rose to respond creatively to the Orkney landscape in words, images and music
• Joining Lore Lixenberg’s Refugee Chorus in a choral and film driven project based on Brecht poems set by the Danish composers Niels Ronsholdt, works interspersed with Arabic, Sephardic and Croation songs – and plans for public performance on an island ferry crossing
• Making and interpreting graphic scores from maps and charts of Orkney and its surrounding seas in Mapping Voices
• Spells and Charms offering vocal works derived from Orcadian and other languages and with works by Peter Maxwell Davies
• One to one tutorials and composition options with Alasdair Nicolson, inviting string trios based on Orkney’s Ancient sites, flexibly (Open) scored works on the theme of Pilgrimage and its relationship to the martyrdom of St Magnus, and a composer’s ensemble creating a new work based on the Hymn to St Magnus
• Mindfulness and music-making as a means of addressing issues relating to creativity, nervousness, physical embodiment, music – function and place
• Piano Masterclasses with Rolf Hind and the opportunity to compose piano works that reflect Orkney’s natural world
• Attending concerts in Stromness, Orkney Theatre and St Magnus Cathedral, including programmes by Summer School resident string trio Sara Woltstenholme, Ruth Gibson and Robin Michael and pianist Rolf Hind
• Taking part of the final concert in St Magnus Cathedral with contributions by all Summer School participants


There are a range of options available.
• Papdale Halls of Residence is only a short walk past the playing fields to where we hold most of our music activities. This lovely modern building which has lifts to all floors, communal spaces and a library. Towels and bedding are provided in single and twin en suite rooms, all with walk-in showers. Several booking options are on offer, ranging from room only to half board. However, this option is now fully booked. A few places may become available and we will keep a reserve list. If you are interested in this option, please email before sending your booking form.
• We have reserved 3 twin rooms in Peedie Hostel from Friday night, which are £17.50 per person per night.
• Otherwise there are plenty of local hotels, hostels and bed & breakfasts at a range of prices, which you can organise yourselves. There is a campsite in Kirkwall and another cost effective option would be for a group of people to hire a holiday cottage outside Kirkwall and also hire a car, which gives you additional opportunities to explore the islands. See the Visit Orkney web site for details.
We recommend getting to Orkney on the Friday if at all possible, or as early as possible on the Saturday.

Course fee – £560 Accommodation in Papdale Halls – Single occupancy £328, sharing in twin room £288. Meals are extra with details provided on the application form. A Friday arrival option is available.

Bookings are now open using the ‘advance’ application form below. Completing this will give you priority when it comes to choosing your options, a distinct advantage given the unprecedented interest shown in this course. The deposit is returnable at this stage and will only become binding once details of all the options have been published in full and you have had a chance to make your choices. If you have any questions, please contact

Summary:Young composers' competition
Deadline: 01 June 2017
Date Posted: 12 January 2017

writing for orchestra

The seventh edition of the Young Composers' Forum - September 2017

Launched in 2003, this biannual event offers the opportunity for young composers to increase their understanding of what is involved in writing for a symphony orchestra and chamber ensemble. A maximum of six composers, to be selected on the basis of an online submission, will be given the privilege of workshopping a work or part of a work (a movement) of about 10 minutes in length with the Brussels Philharmonic and the ensemble Musiques Nouvelles.

The working sessions will be followed by discussions in the presence of internationally renowned composers. Lectures will also be given on various aspects of composing as well as other topics related to composers’ careers, etc.

At the end of the sessions an international reading panel will select one or more works that may be programmed by a professional orchestras. In the past these have included the Orchestre National de Lille, the National Orchestra of Belgium, the Flemish Radio Orchestra, the BBC Symphony Orchestra and the Brussels Philharmonic.

The seventh edition of ['tactus], Young Composers' Forum, will take place in Brussels and Mons, Belgium, from September 25th to 29th, 2017 under the presence of maestri Ann McKay, Jean-Paul Dessy, Kimmo Hakola, Claude Ledoux, and others to be confirmed.

The event will take place in Brussels, Belgium from September 25th to 27th (orchestral session with the Brussels Philharmonic) and in Mons, Belgium from September 27th to 29th (chamber music session with Musiques Nouvelles).

Applications can be submitted exclusively online via the Ulysses platform from December 12th, 2016.

Deadline for submission: June 1st 2017

Applications accepted exclusively online via the Ulysses platform:

 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


 BBC Proms Inspire
Summary:Young Composers' Competition
Deadline: 25 May 2017
Date Posted: 10 January 2017
Details: Now in its nineteenth year, the BBC Proms Inspire scheme provides 12-18 year olds with a friendly environment to share ideas, meet like-minded composers and develop their musical creativity, while working alongside some of the UK’s top composers and musicians. If you are 12-18 years old and want to make your own music, read on to find out how to join the BBC Proms Inspire scheme and enter the BBC Proms Inspire Competition.

"BBC Proms Inspire shines a light on new and emerging talent among our youngest composers. Last year, I and my fellow-judges were amazed and inspired by the quality of work by young teenagers, and I can’t wait to hear what the next competition reveals!" Jonathan Dove, Inspire Competition judge 2016

What is the BBC Proms Inspire Competition 2017?

"The BBC's long-established and justly celebrated Inspire Competition is the UK's leading event for young composers – and a wonderful opportunity for musically curious people aged 12 to 18.” Judith Weir, Inspire Competition judge 2016

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

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

What is the prize?

Winners will be given the opportunity to have their work performed at the BBC Proms by professional musicians and broadcast on Radio 3.
Winners will also receive a BBC commission.
Please read the terms and conditions for full details.

Who are the judges?

Entries will be judged by a panel of leading composers and music industry professionals who are passionate about finding and developing young talent. This year’s judges include composers Mark-Anthony Turnage, Charlotte Bray, Fraser Trainer, Kerry Andrew, Hannah Kendall and Director of the BBC Proms, David Pickard.

What are the rules?

It's very important that you read the full terms and conditions for the competition, for full rules and details on how to submit your entry. You are advised to read these carefully as invalid entries will be disqualified. If you’re aged 12 to 16, ask a parent or guardian to read these too as they will need to give their consent for you to enter. The closing date for entries is Thursday 25 May 2017.

How to enter

Please refer to the terms and conditions for full details on how to submit a valid entry. If you need any further information or require clarification of the meaning of any of the terms and conditions, please contact a member of the Proms Learning team by emailing

Download, print and complete an Entry Form. If you’re aged 12 to 16 make sure a parent or guardian reads and completes the bottom section of the form to give their consent for you to enter.

Send your complete entry by post only to: BBC Proms Inspire Young Composers’ Competition, PO Box 7905, London, W1A 1UL. (Please note that this facility cannot accept any mail from carriers other than Royal Mail. The PO Box facility will terminate at close of business on 25 May 2017 and any late entries will not be accepted. In the event of a prolonged postal strike, the period for submission will be extended as appropriate. Entries delivered in person will not be accepted.)
The closing date for entries is Thursday 25 May 2017. Any entries received after this date will not be entered in the competition.

 Bowling Green State University’s College of Musical Arts
Summary:Perfomance Opportunity
Deadline: 01 May 2017
Date Posted: 10 January 2017
Details: The MidAmerican Center for Contemporary Music at Bowling Green State University’s College of Musical Arts announces a call for works to be considered for performance on the 38th Annual Bowling Green New Music Festival, to be held October 18-21, 2017. The festival will feature the music of guest composers Steven Mackey and Sarah Kirkland Snider and others, performed by BGSU faculty, students and featured guest ensemble Latitude 49.

This year, we are seeking works for the following instrumentation:

Works for solo flute, unaccompanied or with piano
Works for solo trumpet unaccompanied or with piano
Works for solo piano
Works for flute and percussion duo
Works for brass quintet (2 trumpets, trombone, horn, tuba)

1.) Composers of any age, nationality or institutional affiliation, except those currently enrolled at or employed by Bowling Green State University, are eligible to submit scores.

1.) All submissions should be made electronically, and should include the following:
a.) Full score in PDF format
b.) If available, a recording (MP3 or WAV format) or link to a recording (via your own personal web site, SoundCloud, YouTube, etc) that can be streamed or downloaded online.
c.) Contact information including name, address, email, and a short bio or resume.

Submissions via email ( are preferred. Submissions via DropBox, WeTransfer, or other file-sharing service will also be accepted.

Only one submission per composer will be considered for inclusion on the festival.

Exceptions to the electronic submission rule will be considered on a case-by-case basis. Please forward any questions or concerns to MACCM Director Kurt Doles (

2.) Entries must be received by Wednesday, March 15th 2017 to be considered for performance.

3.) Composers selected to participate must provide scores, parts and other performance materials at their own expense. Attendance at the festival is required; a small honorarium of $200 is offered to help offset travel costs.

4.) Composers whose pieces have been selected for performance will be notified via email before May 1, 2017.

 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:

A non-refundable application fee of $35 applies.

For more info visit 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.

 Liberal Judaism Music Composition Competition
Summary:Competition with sacred theme
Deadline: 11 May 2017
Date Posted: 04 January 2017
Details: Are you a musician in a Liberal Jewish community? Have you ever composed music for use in your place of worship? If you have, then keep reading – if you haven’t, then this is your chance!

We are extremely lucky to have a growing number of keen and dedicated musicians in our communities, and over the next six months we will be running the Liberal Judaism Music Composition Competition to showcase the best new, home-grown, music.

All entries will be judged by a cross-communal panel, with a select few awarded a prize and performed at next year’s Day of Celebration. Where possible, all other entries will be recorded and made available to Liberal Jewish congregations. The entry requirements are:

• Must have Jewish content, for example an adaptation of a current prayer or text, or be inspired by Jewish tradition.

• Must be between one and five minutes.

• Must be submitted in full musical notation, with a recording if possible (we can help with this).

• Must be accompanied by no more than 300 words describing the inspiration behind the composition.

• Does not necessarily have to use a voice, but please consider the practical ‘performability’ of the piece.

• The composer must be a member of a Liberal Jewish community.

Please send competition entries, along with any questions you may have, to before 11 May 2017.

 Northampton Festival Compose a “Fanfare”
Deadline: 20 May 2017
Date Posted: 04 January 2017
Details: “Fanfare” to be no longer than 3 minutes and involve no more than 3 musicians.
Send your composition AND a recording to the Music Co-ordinator by FRIDAY 31ST MARCH 2017
The winning “Fanfare” will be played at opening of our Festival Saturday 20th May 2017

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:

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.


Summary:String Call
Deadline: 04 June 2017
Date Posted: 04 January 2017

Total value of prizes: 4000 €
Deadline for entries: June 4th 2017.

1. The competition is open to composers of all ages and nationalities
2. More than one score per composer is permitted
3. All submitted works must have been composed after December 31st 2010 and not awarded a prize in any other competition
4. It is possible to submit works previously performed, but not already published or professionally recorded for commercial use.

1. Composition for ZAGREB SOLOISTS (
2. Use of tape or live electronics is not permitted
3. Orchestration: 6 violins, 2 violas, 2 cellos, 1 contrabass
4. Duration: Up to 15 minutes

The First Prize – 2500€ (bruto-includingtaxes) and the concert performance by ZAGREB SOLOISTS on Samobor Music Festival – October7th 2017.
The Second Prize – 1000 € (bruto-including taxes)
The Third Prize – 500 € (bruto-including taxes)

The decisions of the Jury are final. If the quality of admitted works does not meet the necessary level, the Jury reserves the right not to award one or more of the prizes.

1. The winning composition will be performed on October 7th 2017 by Zagreb Soloists organized during Samobor Music Festival.
2. The composer of the winning work must provide all the performance materials (parts) at his/her own expense and send them to the Samobor Music Festival by of June 30th 2017.
3. The winner of the Award will be announced after June 20th 2017.
4. Entrants agree that, if the submitted work wins the award, all future performances of the work will be accompanied by the following statement in the printed program: "Winner of the New Note International Composers Competition Croatia 2017". The same applies for all future published editions and/or recordings of the work.
5. A copy of the finalist scores will be filed in the Samobor Music Festival records.

Entries by email only!!!
The following items are required:
· The subject line should be “Submission – NEW NOTE – your name
Attach all files below to your email:
· Score (PDF format) – with title “duration” and “nom de plume”, but your name must NOT appear on the score!
· Audio realization (only MP3-higly recomended)
· CV: “nom de plume”, full name, address, date and place of birth, e-mail address, phone number
· biography suitable for a concert program, photo, a brief text about composition
· If text is in a foreign language, an English translation is required
· information about a lyricist you have collaborated with (if).
If you receive email bounce backs due to large file sizes, you may break items into separate emails. Suggested size is up to 10 MB.

Send your email submission to the following mail:

Deadline for the Application Form & all materials is 12:00 PM on June 4th 2017.

1. The Entry fee for participants is 50 € for each score (bank charges covered by the sender).

 2017-18 International Call for Scores: Commissioning Emerging Composers
Summary:Commission Opportunity
Deadline: 28 April 2017
Date Posted: 28 December 2016
Details: The Nouveau Classical Project is thrilled to announce its 2017-18 Commissioning Prize! This year we have a lower submission fee and a higher commissioning fee. The selected composer will be commissioned to write a work for The Nouveau Classical Project's 2017-18 season.

Requirements for Submission
- Composers must submit a work written after 2013 and scored for 4-8 instruments
- Inclusion of a recording is required (MIDI realizations are NOT accepted)
- Composers must submit a proposal outlining idea/s for the commissioned work (300 words max)
- Composers may only submit one (1) score
- Non-refundable submission fee of $7, paid via the online form

- Open to both US and international composers
- Post-secondary and graduate students are eligible to apply
- Undergraduate students are NOT eligible to apply
- Re-worked pieces or arrangements of previous works are NOT eligible

Call for Scores Winner
- $1,000 Commissioning fee, inclusive of commission and copying costs (NCP will print its own parts)
- Selected composer will be commissioned to write an 8-15 minute piece for flute (dbl. picc/alto/b. fl), clarinet (dbl. bass), violin, cello, and piano) and have the opportunity to work closely with NCP in creating the work (NO subsets; must use complete ensemble)
- This work will be programmed on a concert during the 2017-18 season
- Composer will be required to provide a PDF of a score and parts for the ensemble
- An agreement will be sent to composer that will include deadlines, payment schedule, and the granting of two-year exclusivity to NCP to perform the commissioned work

The winner will be announced by June 1, 2017. Hear the new works by last year's Call for Scores winners David Bird and Isaac Schankler at "Currents" on May 25, 2017 at National Sawdust!

Questions? Contact us at info [at] nouveauclassical dot org

Non-discrimination policy
This probably goes without saying, but here it is just in case: The Nouveau Classical Project does not and shall not discriminate on the basis of race, color, religion (creed), gender, gender expression, age, national origin (ancestry), disability, marital status, sexual orientation, or military status, in any of its activities or operations. That being said, we hope anyone and everyone submits for our call for scores!

Summary:Composition Course
Deadline: None
Date Posted: 28 December 2016
Details: ​For Composers and Conductors of Choral Music

2017 Dates
JUNE 23 - 30

​Tuition: $950 +$70 non-refundable application fee

Applications Will be Processed From December 1st 2016 and places will be offered on a rolling basis

1 8-Day intensive workshop for emerging composers and conductors
2 Faculty of world-class composers and conductors with high teacher/pupil ratio
3 Work with highly-skilled and academically-fluent professional singers on repertoire & compositions
4 Masterclasses from experts in both practical and inspirational topics
5 Generous lab choir and podium time
6 Individualized attention from clinicians, singers & peers
7 Public concert of premieres and podium time for composers and conductors
8 Open to applicants from a diverse range of music backgrounds and study/career stages

Video & audio recordings from workshop sessions & performance


 Fifteen-Minutes-of-Fame: Party of Four, flute quartet
Summary:Quartet Competition
Deadline: 20 May 2017
Date Posted: 28 December 2016
Details: Fifteen-Minutes-of-Fame: Party of Four: flute quartet

Vox Novus is calling for one-minute pieces composed for flute quartet. 15 one-minute works will be selected for Fifteen-Minutes-of-Fame: Party of Four: flute quartet to be premiered October 20, 2017 at Maybrook Senior Center in Maybrook NY

Submission Guidelines:

-Works should be composed specifically for this project and performer.

-Works should be for flute in C, with the option of one piccolo and one alto flute.

-All pieces must be quartets

-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!

-Works need to be submitted online at

-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: Party of Four: flute quartet” 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 Party of Four 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.

About the Ensemble:

The Party of Four flute quartet was initially developed in 2014 out of the fledgling Maybrook Wind Ensemble as a need for a fuller concert, but has since evolved into it’s own group frequently performing around the Hudson Valley area of New York. Amateur musicians who have never given up their love for music, Party of Four have forged a bond and commitment to each other and to music and have grown both individually and as a quartet. Coached by Lish Lindsey and Kevin Scott, the quartet has performed for the Warwick Valley Farmers Market, the Warwick Humane Society, Monroe Woodbury Rotary club, and Elant of Newburgh, as well as at all Maybrook Wind Ensemble performances. Party of Four hopes to continue to serve the Hudson Valley area bringing music to our local communities and promoting a love of the arts through music.

Kathryn Jones-Pisano is the principal flutist for the Maybrook Wind Ensemble and president of the MWE. Kathryn is a retired literacy teacher who now works part-time as an adjunct instructor at Dutchess Community cCollege and as an educational consultant for The Thriving Classroom. While continuing to “dabble” with the piano after high school, Kathryn did not play her flute for nearly three decades; at the urging of her church’s organist, she returned to playing in church on Sundays, but six years ago, she began looking for greater challenges and began ensemble playing. She now revels in playing with the Maybrook Wind Ensemble and The Party of Four flute quartet. She wants everyone to know that you never lose your musical talents, and she encourages everyone to dust off those instruments and join us at the Maybrook Wind Ensemble in making joyful music.

Amy Klein – saxophonist and flutist. Amy’s first instrument was an alto saxophone, which she played during grades 5 -12. In high school, she also played a soprano saxophone. When she was 18 years old, she added a flute to the mix. In 2006, shortly after Amy moved to New York from Wisconsin, she joined the SUNY Orange Symphonic Band. Director, Kevin Scott, encouraged her to fine-tune her skills on all three instruments. In addition to joining the Maybrook Wind Ensemble (2014-present), Amy is a participating member of the challenging, but rewarding, Party of Four flute quartet. It gives her great pleasure to play music for concerts, fund-raisers, and benefits. She owns an Altus-Azumi flute and a Phil Barone alto saxophone

Kenneth Korn has been a music teacher in Paramus, NJ for over 30 years. He teaches vocal music and directs elementary and middle school orchestras, bands and choruses. The varied nature of his work requires he be a ‘Jack of all trades and master of none.’ Playing flute in the Maybrook Wind Ensemble and Party of Four quartet with his supportive and wonderful partners has given him the opportunity to finally develop some competence on an instrument he has always enjoyed.

Ken is a native of Buffalo NY, a graduate of Washington University in St. Louis, with a degree in Education, the Crane School of Music, where his performance concentration was in voice, and Montclair State University in New Jersey where he has a Masters in Music. For the past 30 years he has resided with his wife Kristin in Warwick. They have 2 grown children, Anders and Ingrid.

Deborah Proulx began playing flute at the age of 10, and by high school was studying with Victor Just, principal flute of the NY Metropolitan Opera (1965-1976). Throughout high school she participated in chamber groups, musical theater pits, All County, Area All State and All State conferences in New York before putting music on the back burner to pursue college, career and family. After a 20+ year hiatus (and urging from her musical children) she joined the SUNY Orange Symphonic Band, and then went on to become a founding member of the Maybrook Wind Ensemble, under the direction of Kevin Scott. As part of this new ensemble, Deborah also co-founded the Party of Four flute quartet, where she often doubles on Alto Flute. An ABA certified Paralegal and NYS Certified Code Enforcement Officer, Deborah works in the office of Building and Planning for the Village of Monroe.

 International Competition for Band Composition “Saints” 2016/2017 Edition “St. John XXIII”
Summary:Wind Competition
Deadline: 30 April 2017
Date Posted: 28 December 2016
Details: Composition to promote and increase the music composition and the current repertoire.

In particular, the aim of the Competition is to create an original literature due to the figure of St. John XXIII, by selecting a series of useful pieces to complete the production of a CD devoted enti- rely to his figure. It will be part of a series of CDs, for different instrumental ensembles, dedicated to various figures of Saints, published by BAM International sàrl (Geneva-Switzerland) under the patronage of the Pontifical Institute of Culture in Vatican (Italy).


1) The Competition is open to composers of all nationalities, without age limits. Competitors can take part with only one composition.

2) The compositions must be stylistically appropriate to the theme of the Competition, unpublished, never performed, nor broadcasted by radio, television and / or streaming, nor presented, awarded and / or reported in other competitions, and must follow a gui- deline of the type of the tracks of the second category, in the level of execution difficul- ties.

3. 3) The piece must be composed on a meditation of St. John XXIII to free choice of the composer.
4. 4) The composition must have a minimum duration of 6 minutes and no longer than 10 minutes.
5. 5) The compositions must be compatible with the following maximum organic:
o - C Piccolo (optional)
o - C Flute 1-2 (2nd part optional)
o - Oboe 1-2 (2nd part optional)
o - Bassoon 1-2 (2nd part optional)
o - Eb Clarinet (optional)
o - Bb Clarinet 1-2-3
o - Alto Clarinet (optional)
o - Bb Bass Clarinet
o - Bb Soprano Sax (optional)
o - Eb Alto Sax 1-2

• - Bb Tenor Sax
• - Eb Baritone Sax
• - Bb Trumpet 1-2-3 (3rd part optional)
• - Bb Cornet/Flugelhorn 1-2-3 (3rd part optional)
• - F Horn 1-2-3 (3rd part optional)
• - C Trombone 1-2-3 (3rd part or Bass Trombone optional)
• - C Euphonium 1-2 (2nd part optional)
• - C Bass 1-2 (2nd part optional)
• - String bass (optional)
• - Timpani (2 boilers)
• - Percussion (including keyboards, tubular bells and other accessories for up to 4 players)
• - Harp (original)

The numbers for each entry indicate the maximum subdivision of the parts. The absence of the instruments in italics (optional) should never affect the performance and in any case it must be planned to be replaced in the steps "required" and/or "only" with the word (cue). Given the specific destination of the compositions, it is permissible to use: Soloists (also not typically bands’ instruments), Voice, Voice Over (on public domain text).

 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".

 Emissary Quartet
Summary:Work for 4 instruments call
Deadline: 01 May 2017
Date Posted: 14 December 2016
Details: Emissary Quartet seeks new repertoire for four flutes (instrumentation guidelines below). Three winning works will be performed and recorded by Emissary Quartet in Fall 2017.

This project is part of our mission to foster the creation of new music for flute quartet and advocate for the expansion of the flute quartet repertoire. We hope to establish a mutually beneficial partnership between composers and flutists in exploration of new artistic directions for the flute quartet.

• All three winning compositions will be performed at a public concert in the fall of 2017
• All three compositions will be professionally studio recorded and released on our
YouTube Channel, in addition to live recording of the Fall 2017 performance
• One grand prize-winning work selected from these three will be featured throughout our 2017-2018 season (at least three performances across the US)

• Submissions must be original compositions for flute quartet (four flutes)
• Available instruments: 4 C flutes, 4 piccolos, 1 alto flute, 1 bass flute (all members play all instrments)
• Electronics are welcome, but please keep in mind that these works may be difficult to program after the Fall 2017 performance, as we frequently perform in venues without electronics capabilities
• Compositions should be 3-12 minutes in length
• Multi-movement works should be submitted as a single entry
• There is no limit on the number of works submitted, but each work should be submitted as a separate entry

Application Materials
• Full Score (PDF format, please save as “LastName_FirstName_TitleofPiece”)
• Audio rendering or recording, if available (please send as a Google Drive, Dropbox, or iCloud shareable link)
• Completed Composer Information Sheet (scan to PDF, please save as
• There is no application fee

Send all materials to by May 1, 2017. Results will be announced in August 2017.

Questions? Please contact Colleen McElroy at For more information about Emissary Quartet, visit

 5th Competition for Young Composers Dedicated to Gian Carlo Menotti
Summary:Songwriting Competition
Deadline: 30 April 2017
Date Posted: 07 December 2016
Details: The 5th Competition for Young Composers dedicated to Gian Carlo Menotti is a collaboration between the Fondazione Monini and Incontri Musicali to honor the musician, composer, director, and librettist’s passion in helping young and emerging artists. This year’s composition is a song cycle for soprano and piano in Italian, English, German, French or Spanish. The winner will receive €5,000 and will be recognized at the 2017 Festival of Two Worlds in Spoleto, Italy. The work will then be performed at Incontri Musicali 2017, also in Spoleto.

1) The competition is open to composers of any nationality, who will be no more than 30 years old by the date of April 30, 2017.
2) Only one composition by each composer will be accepted.
3) The work presented must be 15 to 20 minutes long.
4) The composition is to be conceived as a song cycle for soprano and piano. 5) The text of the songs must be either in English, Italian, French, Spanish or German. 6) The composition must have not already been published.
7) The material must be sent to the Monini Foundation by April 30, 2017.

The winner will be invited both to the award presentation and the performance of his/herwork. The foundation will take care of hospitality in Spoleto, while travel expenses will have to be covered by the winner.

1) The winner will receive a prize of 5.000 euros.
2) The prize will be awarded in July, during the 2017
Festival dei Due Mondi of Spoleto.
3) The winning work will be performed during the
Incontri Musicali chamber music festival held in
Spoleto midsummer 2017.
4) The decision of the jury will be final.

1) Send 3 copies of the score of the work with name, address and anything else that will identify you as the composer.
2) The material must be sent to the following address:
c/o FONDAZIONE MONINI, Via dell’Arringo 06049 Spoleto (PG) Italy

 Busan Choral Competition
Summary:Choral Competition
Deadline: 31 May 2017
Date Posted: 30 November 2016
Details: Throughout its festival and competition history, Busan Choral has fostered cultural exchange and promoted high quality of choral music by attracting notable artists, conductors, and composers to one of Asia’s top choral festivals. The Busan Choral Composition Competition seeks to engage with aspiring young composers and to encourage the creation and performance of new works written for the choral music genre. The 1st winning work will be premiered at the 2017 Busan Choral Festival & Competition during the week of September 6-9, 2017.

Composer must be born between JUN 30, 1997 and JUN 30, 1977
(exceptions may be considered under the BCFC committee's review.)

-3-10 minutes in duration
-Piece must be for unaccompanied, equal or mixed voices choir.
-Smaller, portable percussion instruments are allowed. (Xylophone, vibraphone and timpani not allowed).
-Text can be chosen from Latin, English or Korean. If another language is chosen, a detailed English synopsis and pronunciation must be included in the score.
-Compositions must not have been previously published or awarded in previous composition competitions and never publicly performed.

Application: 31st May Deadline

-Complete Online Application Form
-Résumé/CV (*.doc / *.docx)
-Copy of passport or ID Card with date of birth in JPEG format
-Score in PDF format
-English synopsis and pronunciation
-Midi recording (by computer software) in MP3 format


 Boston Young Artists Composition Program
Summary:Programme for young artists
Deadline: None
Date Posted: 30 November 2016
Details: July 2-August 12, 2017 | Ages 14–19*

Directed by Boston University Professor, ASCAP composer, teacher and pianist Martin Amlin, with Assistant Director Justin Casinghino, the Young Artists Composition Program (YACP) offers talented high school composers the unique opportunity to focus for six weeks solely on exploring and refining their compositional skills. *The Young Artists Composition Program is open to high school students who have not yet begun full-time college or conservatory study.

Two private lessons per week

Daily classes in analysis, score-reading, theory, and compositional techniques

Small ensemble composition projects with weekly readings/recordings by BUTI students and faculty

Full orchestral reading/recording with the BUTI Young Artists Orchestra

Concert showcasing pieces written during the summer performed by BUTI students and faculty

Master classes with some of the world’s most esteemed music professionals (past visits and classes include John Harbison, David Del Tredici, Michael Gandolfi, Nico Muhly, Joan Tower, Richard Cornell, Joshua Fineberg, and Jonathan Newman)

Access to Festival of Contemporary Music rehearsals and performances

Access to all Boston Symphony Orchestra and Tanglewood Music Center concerts, as many as 15 events a week

6 hours of transferable Boston University course credit

 Electroacoustic Composition Workshop
Deadline: None
Date Posted: 30 November 2016
Details: June 18-July 1, 2017 | Ages 14–20

The two-week Electroacoustic Composition Workshop (ECWS), under the direction of Justin Casinghino, will serve as a platform for students to dive into the world of fixed media and interactive electronic music.

This introductory level course in electronic music will consist of interactive classes, private lessons, and scheduled personal work time with the electronic music studio equipment and will explore the philosophy, history, and compositional procedure behind various genres of electronic music. Students will also receive individual feedback from the director, their peers, and in guest artist master classes. As a final project, students will compose a multi-channel fixed media work, and the workshop will culminate in a concert-exhibition featuring a surround-sound presentation of these final projects. Course topics to include:

Audio and recording manipulation
Surround sound mixing
Experimentation with digital instruments
DAW platforms
Understanding the nature of sound
Creating and composing with computer manipulated sound
Recording and microphone techniques
Studio and live diffusion mixing techniques
Aesthetics in electronic music
Historically important works in the genre
2 hours of transferable Boston University course credit

Admitted students will be required to bring a personal laptop computer for working time and to complete assignments. Compositional techniques will be taught from a multi-platform bias, allowing students to continue work regardless of individual system types. Primary studio software includes Logic Pro and Max/MSP.

 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
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

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


 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 by using a file transfer service or cloud such as Dropbox or WeTransfer.

 2017 Australian Composition Seminar - Plexus
Summary:Workshop call for scores
Deadline: 23 June 2017
Date Posted: 16 November 2016
Details: Following a successful inaugural seminar in 2015 and a gigantic 2016 seminar, Richard Gill, Karen Carey and Andrew Batt-Rawden team up again to deliver another astounding compositional development experience for high school music 1 and music 2 students in years 8, 9, 10 and 11 with a choice of either Monday 24 July 2017, or Tuesday 25 July 2017. The workshop will run from 9am to 2:30pm.

The day has three core components;

- workshop/analysis of students' works
- analysis of contemporary Australian work composed by Stefan Cassomenos
- a performance and discussion other repertoire commissioned by Plexus, by both international and local composers.

A kit will be distributed on the day that includes; all student scores being played through, an educational guide to Stefan Cassemenos' work, scores of other works being performed and a guide to approaching their analysis.

Students are invited to submit a work that is no longer than a minute of a piece for the trio, clarinet (including bass), violin and piano.

PDFs of scores may be emailed to
Scores must be received by June 23, 2017.

We will give broad analysis/pointers on as many works submitted as possible (there will by the necessity of time be a limit to how many works we can get through). All scores being played through in the workshop are published in a booklet that is handed out to all students attending on the day. This encourages students to learn from, and be inspired by, each others' scores.

In addition to workshopping the students' music, we will also give an in depth analysis of one of Stefan Cassemenos's works (details of exact repertoire will be sent prior to Term 1, 2017).

Any questions, please contact Andrew at

Mon., 24/07/2017, 9:00 am –
Tue., 25/07/2017, 2:30 pm AEST

Santa Sabina College
90 The Boulevarde
Strathfield, NSW 2135

 Rarescale Summer School
Deadline: None
Date Posted: 16 November 2016
Details: rarescale Summer School for composers and flute players
Monday 31st July – Saturday 5th August 2017
Harlaxton Manor, near Grantham, Lincolnshire

For further information and to book, please contact us:

rarescale’s Summer School returns in 2017 in the beautiful venue of Harlaxton Manor, just outside Grantham in Lincolnshire.

Featuring courses for flute players (including the opportunity to specialise on alto or bass flute) and composers, this promises to be an inspiring week with new repertoire, collaborations and the opportunity to work towards individual goals in a relaxed and supportive atmosphere. Flute Course
Tutors: Carla Rees

This course is aimed at undergraduate level performers and above, and is suitable for students, young professionals and advanced amateur players. Minimum recommended standard ABRSM Grade 8.

-Learn the techniques of alto and bass flute playing, as well as piccolo and C flute
-Discussions on specific technical issues, including extended techniques
-Develop your performance skills
-Explore solo and ensemble repertoire for all members of the flute family
-Individual lessons, masterclasses and flute ensembles
-Opportunities for collaborations with composers and other flute players
-Introduction to playing music with electronics
-Opportunity to perform in an end of course concert

NEW FOR 2017: Flute Retreat
An opportunity for a maximum of two advanced students or early career flute players to prepare for a recorded recital during the course in a personally devised programme of study. Opportunities for composer collaborations and individual tuition. Download the Application Form

Composition Taught Course: Electroacoustic and/or acoustic composition
Tutor: Michael Oliva

Suitable for all standards, including those with no prior experience of EAM composition

Both courses are taught together, allowing composers the flexibility to choose their preferred pathway. To an extent, the course content will be tailor made to suit the needs of the participants, but areas which may be covered include:

-Group classes and individual tuition
-Compose a piece during the week and perform it in the final concert
-Potential to collaborate with flute players and other composers

Electroacoustic course:

-Learn the basics of Electroacoustic composition, or refine your skills
-Learn field recording techniques, software skills and develop your understanding of EAM compositional techniques
-Learn techniques of synthesis, sampling and real-time computer transformations in the context of creating new work
-Explore current approaches to working with computer sound and the performance of electroacoustic music
-Collecting and working with environmental sound
-Developing and writing your own interactive performance software with Max/MSP
-Composers should bring a laptop running a standard sequencer programme (e.g. Cubase, Logic or Performer), headphones and any other items required for their compositional activity.

Acoustic course:

-Develop your skills in composition, including aspects of structure, instrumentation, harmonic language etc
-Opportunity to develop specific knowledge of writing for solo flute and/or flute ensemble (including extended techniques) in collaboration with performers
-Opportunity to explore the basics of electroacoustic composition (optional)
-Composers should bring a laptop running Sibelius (preferred) or other music notation software, headphones and any other items required for their compositional activity.

Composition retreat
The Composition Retreat offers experienced composers the opportunity to work in the wonderful surroundings of Harlaxton Manor, with support from rarescale course tutors, while maintaining the freedom to work on independent compositional projects.

-Open to composers of all disciplines
-Come and enjoy the wonderful surroundings of Harlaxton while working on -independent compositional projects
-Consultations available with rarescale members Carla Rees and Michael Oliva
Potential for collaborations with rarescale and participants of the flute course


Read about the 2015 course here:

The course will feature a public concert by rarescale, in addition to a concert by course participants on the final evening.

Dates, Accommodation and Fees
Dates: Monday 31st July to Saturday 5th August (Arrive by 11am on Monday and depart on Saturday after breakfast)

Accommodation is in study bedrooms in the student-style accommodation at Harlaxton Manor. Rooms are allocated on a best available basis and course participants may be asked to share. A surcharge of £75 is payable for anyone wishing to guarantee a single room. All bathroom facilities are shared, and accommodation fees also include all meals. Additional accommodation may be available for the Sunday before the course starts at an additional cost – please ask. If you prefer to stay in one of the local hotels, a non-residential rate is also available.


 Soundfly's new online course with Tim Hansen teaches you the fundamentals of Composition
Summary:Composition Course
Deadline: None
Date Posted: 16 November 2016
Details: SOUNDFLY'S NEW COURSE TEACHES YOU THE FUNDAMENTALS OF MUSIC COMPOSITION & DEEPENS YOUR UNDERSTANDING OF EMPLOYING THEORY code: SOUNDANDMUSIC for 20% off!As a composer, there are many different tools in your tool belt that can bring interest and originality to your music. You can use time signatures to add complexity, tonality to add emotional pull, rhythm to add drive, or something else to create some other unique dynamic. This course will take you through the essential elements of modern composing. Led by Australian composer Tim Hansen, you'll explore the beat, time signatures, rhythm, tonality, timbre, texture, and structure, with key examples to demonstrate along the way. By the end of this course, you'll be able to employee these tools more effectively in your compositions.This one-of-a-kind month-long course combines fun instructional videos, step-by-step guides, downloadable resources, and professional support and feedback to help you unlock your vision for notated music. You'll have the opportunity to get personal mentorship and consulting from an industry expert, as well as access to a revolving-door community of fellow students and advisors. Now who's ready to get composing?

 International Composition Competition
Summary:International Percussion Competition
Deadline: 15 May 2017
Date Posted: 02 November 2016
Details: Preface
Please find enclosed the official regulations and registration form of the Composition Competition for percussion duo organised by the International Percussion Competition Luxembourg.

You are kindly requested to read carefully the following paragraphs and in case of interest, to fill in the registration form and to send it to the Office of the Competition.

Please keep your correspondences in the official languages of the Competition: French, German or English.

The subject of the Composition Competition of the International Percussion Competition Luxembourg ( IPCL ) is a work for percussion duo.

Duration: 7-8 minutes

Suggested instruments:
• Marimbas, xylophones, vibraphones, glockenspiels, timpani • Snare drums, bongos, tomtoms, bass drums
• Templeblocks, woodblocks, claves
• Suspended Cymbals, hihat, 1-2 tamtams/gongs, triangles

The use of electronics is not permitted.
In June 2017, the jury of the Competition will select the prize-winning work, which will be the setpiece for the 1st round of the Percussion-Duo Competition 2018 organised by the International Percussion Competition Luxembourg and taking place from 10th until 18th February 2018.

 Composers’ Programme to the festival “Days of chamber music”
Summary:Composers' Programme
Deadline: 15 June 2017
Date Posted: 01 November 2016
Details: Gabrovo, Bulgaria
September 8 – 15, 2017 г.
(September 6 – 16 2017 for composers)

The Gabrovo Chamber Orchestra invites student composers in high-school and university (bachelor) level to participate with their compositions in the Composers’ Programme to the festival “Days of chamber music”, organized by the Gabrovo Chamber Orchestra.

The Composers’ programme targets student-composers at high-school and university level seeking opportunities to rehearse and hear their music performed by professional musicians, as well as to participate in workshops and lectures in different practical and theoretical disciplines.

The composers will have a work included in the programme of the festival, which will be rehearsed and performed by the Gabrovo Chamber Orchestra. The concert will be recorded and offered to the composers for non-commercial purposes. The work does not have to be written specifically for the festival.

During their work in the workshops the composers will write exercises in orchestration and arrangement, which will be rehearsed with the orchestra. They will participate in a conducting masterclass with the Gabrovo Chamber Orchestra. Some participants will be recommended to the festival performers for future commissions and collaborations.

The composers will benefit from activities outside the studies and the festival, including museum visits, a mountain hike, etc.

Personnel of the Gabrovo Chamber Orchestra: 9 violins, 3 violas, 2 violoncellos и 1 double bass

Lectures offered
Individual composition lessons
Group masterclasses in composition
Groups lectures in history and theory of music Group lessons in conducting
Individual and group career consultations

Mag. Ivan Stoyanov (conducting), conductor of the Gabrovo Chamber Orchestra
Dr Alexandra Fol (composition and theoretical disciplines), guest-composers

Price for 10 days: accommodation, breakfast, tuition, organized external activities (including entrance tickets, transport, tour guide)
Price for citizens of the European Union € 500 Euros for 10 days
Price for citizens of countries from outside of the European Union € 800 for 10 days

Teaching language for individual lessons
Bulgarian, German, English, French, Italian

Teaching language for group classes
English. Other languages dependent on particular circumstances.

Important dates
Deadline for applying, by e-mail only: June 15, 2017
Announcing the results: June 30, 2017
If you need to know your results earlier in order to apply for funding, etc., please, do write to us.
Deadline for fee payment: July 31, 2017
The accepted composers will receive the bank account information by e-mail.
Deadline for receiving the work and the parts: August 20, 2017 Day of arrival in Gabrovo: September 6, 2017
Possibility of pick-up from Sofia for an additional fee
Day of departure from Gabrovo: September 16, 2017

Composers wishing to apply must send the following documents
1) Short biography
2) 2-3 scores in PDF format
3) Recordings,ifsuchexist
4) Link to a personal website, if such exists

E-mail for application and contact

Phone numbers for contact
+1-514-264-7777 (Bulgarian, German, English, French, Italian) +359 889 619 345 (Bulgarian)

Internet links:

Gabrovo municipality

Museum of humour and satire

Gabrovo Chamber Orchestra

Gabrovo Chamber Orchestra on facebookГабровски-камерен-оркестър--126356347430505/?fref=ts

Central Bus Station

Busses from Sofia to Gabrovo departing from the Central Bus Station 3%D0%90%D0%91%D0%A0%D0%9E%D0%92%D0%9E

 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.
Contact: Hubert Howe

 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 ( 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 is also worth a visit. For technical queries, please contact

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 by 1st December 2017. Links to the downloadable application form and payment details are below:

 NBA Young Composers Jazz Composition Contest
Summary:Jazz Competition
Deadline: 01 July 2017
Date Posted: 27 September 2016
Details: The contest seeks to recognize and encourage young jazz composers to submit their works for the prize. Composers must be 39 years of age or younger by July 1 of each year. In addition, the work submitted must be for jazz ensemble with no restrictions as to style, form or length.

Deadline for submissions is July 1, 2017. For additional information, visit

 NBA/Alfred Publishing Young Band Composition Contest, sponsored by Alfred Publishing
Summary:Band Competition
Deadline: 01 June 2017
Date Posted: 27 September 2016
Details: The NBA/Alfred Publishing Young Band Composition Contest is sponsored by Alfred Publishing. Special thanks to composer and music educator Robert Sheldon for his support and guidance in establishing this special partnership with the National Band Association. This young band contest seeks to find composers writing for grades 1-3. There is a cash prize for the winner, plus the possibility of the winning work being published in Alfred’s Young Band catalog. Deadline for submissions is June 1, 2017. For information, email the contest chair, Audrey Murphy:

 Cove Park Artist Centre
Summary:Residency Opportunity
Deadline: None
Date Posted: 14 September 2016
Details: Cove Park’s brand new Artist Centre is now complete. Individuals and groups of up to 12 artists and makers from across disciplines and fields are now able to make use of the new centre for residencies from October 2016 to May 2017.

The Artists Centre has brand new devising and workshop spaces, a large communal kitchen and snug, library and archive. Overlooking the firth of the Clyde, Cove Park is 1 hour from Glasgow on the Rosneath Peninsula. Please see the website for images under ‘Cove Tour’.

Our 10 individual, self-contained live/work pods and cubes are perfect for researching, reading and writing, and were designed to offer artists of all disciplines (working singularly or together) an uninterrupted focussed space to devise, explore, experiment or hone a creative project whilst in residence. We have 5 studios available to those needing additional room for small group work or individual making-space. Our new Artists Centre has a large wooden-floored room designed for movement and voice work, and a large, separate meeting room.

We welcome artists from across the world and from all disciplines to Cove Park for residencies, allowing enriching and nourishing creative exchange.

Your residency can be part of your professional development or an opportunity to step back and out of everyday life, to imagine new ways of working or plan or complete a commission. We have a sliding scale of reasonable hire charges to help you plan an invaluable residency at Cove Park.

Residencies available October 2016 – May 2017.

To send an enquiry please contact Catrin Kemp (Assistant Director).

Location: All Scotland ,England, Wales, Northern Ireland, International

For further information, please contact (, or call 07500791942, or visit

 Andrew S. Way Music Foundation
Summary:Funding Opportunity
Deadline: None
Date Posted: 31 August 2016
Details: The Andrew S. Way Music Foundation is committed to the composition, education, and performance of new music. The process by which this is achieved has two major components: first the grant selects composers to write new music (for a school or organization), then music educators apply for the opportunity to perform the music with their ensembles in live concert. When the two are matched, the foundation will also help facilitate and encourage communication between the composer, the educator, and the ensemble. Currently accepting all applicants from the Bay Area.

The Andrew S. Way Foundation welcomes composer and school/organization applicants from all walks of life and musical paths, and is dedicated to supporting all types of music.

 New Music Message Board
Summary:Opportunity to connect with performers
Deadline: None
Date Posted: 31 August 2016
Details: This is a new group dedicated to connecting composers of new works with performers of new music. Composers can post whatever they feel comfortable. Performers can search for the desired instrumentation with the search tool, and hopefully curate some performances. Please don't hesitate to post as many works as you would like.

The group is in the formative stages, and will hopefully grow from a Facebook group to a professional website and online community. So, please share the group with anyone who may be interested from anywhere in the world!!

 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, 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.

 International Percussion Competition Luxembourg
Summary:Percussion Composition Competition
Deadline: 15 May 2017
Date Posted: 23 June 2016
Details: The subject of the Composition Competition of the International Percussion Competition Luxembourg ( IPCL ) is a work for percussion duo.

Duration: 7-8 minutes

Suggested instruments:
• Marimbas, xylophones, vibraphones, glockenspiels, timpani • Snare drums, bongos, tomtoms, bass drums
• Templeblocks, woodblocks, claves
• Suspended Cymbals, hihat, 1-2 tamtams/gongs, triangles

The use of electronics is not permitted.

In June 2017, the jury of the Competition will select the prize-winning work, which will be the setpiece for the 1st round of the Percussion-Duo Competition 2018 organised by the International Percussion Competition Luxembourg and taking place from 10th until 18th February 2018.

 BBC Introducing
Summary:Showcase Opportunity
Deadline: None
Date Posted: 12 April 2016
Details: Whether you’re a performer or composer writing music under any classical style BBC Introducing is a fantastic platform to get involved with. Introducing has been supporting unsigned, undiscovered and under the radar since 2007, giving new UK artists a chance to get their music out to new fans. To date the Uploader has had from over 150,000 artists and have seen many of them go on to achieve fantastic milestones in their career from recording a session at Maida Vale to headlining Glastonbury!With BBC Introducing the process is simple; you go to and share your music via the BBC Introducing Uploader. A team of presenters and producers here at Radio 3 will then listen to your music and choose a selection of the best compositions and performances to play on the station.From performing at a BBC showcase to being approached by other composers and writers, there are lots of opportunities that could you could send your music to us via the BBC Uploader and, in some cases, be played on the radio just hours later. If you’re an emerging musician and looking for new opportunities then head over to the for opportunities on Radio 3 and beyond.

 Sorodha Composition Competition 2016: String quartet
Summary:String Quartet Call
Deadline: None
Date Posted: 04 November 2015
Details: Sorodha is proud to announce the fifth edition of its annual composition competition.

For this festive edition, we welcome compositions for string quartet and have the utmost pleasure to be able to work with the Tana String Quartet on this occasion. Their leader, Antoine Maisonhaute, was one of our judges last year, and this year they all join us as performers.

The submission deadline is Monday 29th of February 2016, and the entry fee is € 10,00.

The jury will select five works, which will be executed at a public concert on Saturday 23rd of April 2016 by the Tana String Quartet, after which the jury will award two prizes (€ 1,000.00 and € 500.00).

The winning piece will be performed by the Tana String Quartet at the Académie du Festival d'Aix-en-Provence on the 20th of July, 2016 (details forthcoming).

Please keep following checklist in mind before sending us your score:
• is your work written for string quartet (2 violins, viola, cello; no electronics, either)?
• was it originally written for string quartet?
• has is not been performed, broadcasted or prized in another competition before?
• is your score anonymous?
• will we be able to tell it apart from the others based on the title only? Ok, then; otherwise please add a motto, code or other distinctive sign.
• is it formatted as PDF file and A4 pages?
• does your second PDF file contain all the necessary data?
• has the entry fee been paid by PayPal (an extra € 1 will be charged to cover the transfer costs)?
• have you checked the time zone if filing on the last day before the deadline from elsewhere than Western Europe?

Please take notice of the fact that we cannot accept submissions by regular mail, only by email!

Web Site:

Summary:Song Writing
Deadline: None
Date Posted: 27 August 2015
Details: How can I enter?

It’s easy! You can enter online at any of these sponsoring sites: Broadjam or on the DSA website or download an entry form here and print out, and mail your entries to:

Dallas Songwriters Association (DSA)
2011 Song Contest Director
Sammons Center for the Arts
3630 Harry Hines Boulevard #20
Dallas, TX 75219

How much is the entry fee?

$25 each entry. Please note EACH entry must have an accompanying form sheet. If you are a member of DSA or plan to join, you can get a $5 discount off your membership or renewal for each song contest entry. To join DSA or renew your membership, go to We’d love to have you as a member!

Who owns the songs I enter?

You do! You retain all rights.

What has to be on the lyric sheet?

The song Title and Category appear at the top of the sheet. Your lyrics, marked with “Verse” “Chorus” etc., follow the Title. For a sample, click here. Do not write your name on the lyric sheet or on the outside of the CD case -- simply fold your lyric sheet white-side out (so that the back side shows) and legibly write the song Title and Category on the back of the lyric sheet, and place it inside the CD case so that the song Title and Category show through the CD case.

If I don’t write my name on my lyric sheet, how do you know which one is mine?

Song Contest staff keeps track of which name goes with which song – all names are withheld from the judges so that the judges can select the winners with the highest level of fairness possible. Once the judges select the semifinalists and winners, the song contest staff reveals the names of the winning artists.
Web Site:

 CALL FOR SCORES 2015 – Cello and Contrabass
Summary:Electroacoustic Call
Deadline: None
Date Posted: 20 May 2015
Details: 1. Call for Narrator/Speaker/Vocalist/Actor plus Electronic Music Scores (performer and "tape")

2. Call for "tape" pieces that have explicit political meaning

Narrator/Speaker/Vocalist/Actor plus Electronic Music Scores (performer and "tape")

Composer/performer Rodney Waschka II is looking for works for narrator or actor or speaker and electronic music fixed on two channels. Works will be considered for performance on the Arts NOW Series and elsewhere. You can read a review ( by the Classical Voice of North Carolina of a concert of this type of music performed in February, 2009. Waschka has performed works by Alden Jenks, Pertti Jalava, Mansoor Hosseini, Stephen Pope, Allen Strange, Pauline Oliveros, Mara Helmuth, and others.

If you have composed such a piece or are interested in composing such a work, please contract me.

"Tape" pieces that have explicit political meaning

Pieces of this type are needed for programming for the Arts NOW Series.

Please contact me if you have a piece that you think might be appropriate.

Web Site:

 Sarasota Opera Request For Submission of New Youth Works
Summary:Opera for Young People
Deadline: None
Date Posted: 15 April 2015
Details: Sarasota Opera is pleased to invite composers to submit works for a new opera for possible production in November 2017 by Sarasota Youth Opera, one of the most comprehensive programs in the United States.

This invitation is open to any living composer or librettist, of any age, who is a United States citizen.

The submission deadline is Wednesday, September 30, 2015, at 5 pm.

Click HERE to download submission form

About Sarasota Youth Opera:

Since 1984, Sarasota Youth Opera (SYO) has given young people age 8 to 18 an opportunity to experience the magic of opera through participation in after-school choruses, Sarasota Opera mainstage productions, summer workshops, and the Youth Opera's own full-scale productions.

Regarded as a leader in the commissioning and producing of works for young voices, SYO is the only program in the United States committed to presenting annual, full-scale opera productions for young voices with professional musicians, direction, and costume and scenic design.

Since 1986, five commissioned world premieres and over 20 additional youth opera productions have been presented. Past commissions include:

2012 Little Nemo in Slumberland (music by Daron Hagen, libretto by J.D. McClatchy)
2004 The Language of Birds (music by John Kennedy, libretto by Peter Krask)
1998 Eye of Ra (music by Tom Suta, libretto by Diana Colson)
1993 Her Lightness (music and libretto by Polly Pen)
1989 Deadline

Our most recent commission, Little Nemo in Slumberland, featured over 106 young people and used a ground-breaking projection technology called SCRIBE (Self-Contained Rapidly Integratable Background Environment) to bring Winsor McCay’s comic strips to life. Since it’s 2012 premiere, Little Nemo in Slumberland has been performed by The University of Kentucky Opera Theatre, Tulsa Youth Opera, La Sierra University, and Pittsburgh High School for the Performing Arts.

In November 2014, SYO presented Dean Burry’s The Hobbit. Based on the writings of J.R.R. Tolkien, this classic adventure was brought to life with a cast of over 95 young people and 12 professional musicians on the stage of the Sarasota Opera House.

Both Little Nemo in Slumberland and The Hobbit performed to sold-out audiences.


-English Libretto
-60 minutes of playing time. One Intermission optional.
-10 to 15 solo youth roles in treble voice
-Optional 1 to 3 adult players. Adults may portray more than one character.
-SSAB youth chorus ensemble that is featured predominately throughout the work
-Chamber orchestration of no more than 13 instruments, may include piano
-Roles with specific physical requirements are best avoided
-Entirely sung (minimal spoken narration or dialog optional)


"Sarasota Opera is dedicated to performing classic works of opera in a manner that is true to the composer’s intentions. In the years that we have been doing productions with our Youth Opera, I have found there are few works of substantial musical value for young people to perform. In our desire to increase the repertoire we are looking for music that is rooted in the classic music style, reflecting how that music is written today without the influence of other genres such musical theater, jazz or other popular idioms.

"The Youth Opera was begun as a way to get young people interested in art music. The works we are looking for should help achieve that goal and be musically sophisticated enough to appeal to adults while still accessible to children."

--Maestro Victor DeRenzi
Artistic Director, Sarasota Opera


-Copyright clearance must obtained prior to entry
-Submissions must be unpublished works not currently accepted by a publisher for publication or rental
-Works may have been workshopped, but should not have received a premiere performance
-Works should show an awareness of the practical realities of rehearsal and performance
-Sarasota Opera will hold the rights for the premiere performances and one subsequent production


-Piano-Vocal format
-Minimum 30% complete (approximately 20 minutes of music)
-Submission must include at least one (1) chorus ensemble number
-Each composer may submit up to three (3) works
-Manuscripts should be legible if hand-written

Submission should include:
-Submission Form
-Letter of Introduction
-PDF of PV and Libretto
-Each score must have a title page containing characters, voice types, and brief synopsis for proposed work
-If submitted in hard copy, please include a self-addressed stamped envelope for return
-Inclusion of a recording of work-shopped scenes, full opera, or midi recording is optional

If no entry is deemed appropriate, the panel reserves the right to not make a selection and no fee will be awarded.

Submissions May Be Sent To:

Sarasota Opera
New Youth Works Submission
61 N. Pineapple Avenue
Sarasota, FL 34236

Materials may be submitted electronically via this Dropbox link: Submit Materials.

If submitting electronically, please include “Composer Last Name, Composer First Name” at the beginning of each file name (eg: "Doe_Jane_Opera_Title").


September 2015 Submission Deadline
December 2015 Finalists Announced
May 2016 Finalists Submitted Completed PV
August 2016 Final Selection(s) Announced – Winner(s) Complete Orchestration
November 2017 Premiere Production


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

 School of Music of Azusa Pacific University and J.W.Pepper Music
Summary:High School Competition
Deadline: None
Date Posted: 11 March 2015
Details: This High School Composition Contest is offered jointly by the School of Music of Azusa Pacific University and J.W.Pepper Music. It’s intent is to encourage the composition by high school students of high quality music that is accessible to reasonably well-developed high school music ensembles and performers. While this is the first year of the Contest, it is intended that it be an annual event.

The prizes for the winning composition in each category are:

1) $1000 cash

2) Public performance and recording by the appropriate Azusa Pacific University music ensemble.

3) Consideration for publication by J.W.Peppers publishing arm, Wingert-Jones Publications.

4) A complimentary subscription for J.W.Pepper’s My Score® self-publishing platform, valued at $99.

There are five categories of music being sought for the Contest. They are listed below, along with the length limitations for each category.

1) Orchestra 5 to 8 minutes

2) Choral 4 to 6 minutes

3) Wind Ensemble 5 to 8 minutes

4) Jazz Ensemble 5 to 8 minutes

5) Chamber 5 to 8 minutes

Plan to submit a properly notated score and demo recording. The winner in any category will be expected to provide clear, readable parts for the appropriate ensemble. Details are at the “How to Enter” tab above.

The choral composition may be accompanied or unaccompanied. It can be for mixed chorus, women’s choir, or men’s choir. Any accompaniment should be limited to piano and/or no more than two other common instruments.

The chamber composition may be for string quartet, string quintet, woodwind quintet, brass quintet, piano trio, piano quintet, guitar ensemble, guitar with bowed strings, or any common solo instrument. Other small groupings may be considered. If you would like to compose for a non-standard chamber group, it is suggested that you send email to with a description of the ensemble to get approval of the ensemble for which you wish to compose.

Instrumentation for the other ensembles follows.


Wind Ensemble:

Jazz Ensemble (big band):

Please see the “Contest Rules” tab above for further details, and the “How to Enter” tab for instructions about how to apply for the contest and submit your composition(s).

The contest is not yet “live.” It will be opened on April 1, 2015. After that time, questions not answered at the Contest Rules and How to Enter tabs may be directed to
Web Site:

Summary:Ongoing Chamber Call
Deadline: None
Date Posted: 04 December 2014
Details: rarescale has an ongoing call for scores and are interested in hearing from composers of all ages and nationalities. We are seeking quality chamber works for any combination of the following instruments:

flute/alto flute/bass flute (Kingma System)
oboe/cor anglais
clarinet/bass clarinet

Please note that due to the high volume of works received we are unable to perform all the works sent to us, but we will keep details of all submissions in our database for future performance opportunities.

Please send scores and all performance materials as PDF or Sibelius 6 files to Recordings are preferable but not essential, and please bear in mind rarescale's charitable remit to promote the alto and bass flute.
Web Site:

 Flexible Persona
Summary:Journal seeks compositions
Deadline: None
Date Posted: 13 August 2014
Details: The Flexible Persona, a literary journal, is looking for the work of minimalist composers for our audio issues. We would feature a 10–20 second clip of your work before the story is read and then a work up to five minutes in length at the end of the broadcast with credit to you and link to your website/work. For questions or to submit links to your work, please e-mail us at: Please do not send audio attachments.


 MUSLAB 2014. International Electroacoustic Music Exposition
Summary:Sound Art Workshops
Deadline: None
Date Posted: 18 June 2014
Details: Asociación Camin-Art and MUSLAB Ensemble invite composers of electroacoustic music, sound artists and visual artists to participate in the

Muestra Internacional de Música Electroacústica MUSLAB 2014
This exhibition will take place in October and November in Mexico City and the states of Tamaulipas, Nayarit and Veracruz in 11 different locations.
The International Electroacoustic Music Exposition / MUSLAB 2014 is a project that we do in order to help to recover public spaces as a way to promote social interaction and citizenship using artistic interventions with electroacoustic music and video projection on buildings (Video Mapping).

This exhibition is accompanied by a workshop in new technologies applied to art, open to students and artists interested in working with sound and image. This workshop will be adapted to the needs of each community where the exhibition is presented.

The event will be broadcast by Radio UNAM Mexico, Radio UAM, UAM TV nationwide and internationally via Internet. We also have the support of the Zero Records Productions label to record the event, that might end up publishing a selection of the submitted works in a CD-DVD.

Web Site:

 Duo Scordatura "Call for Scores"
Summary:Violin and Viola Duet Call for Scores
Deadline: None
Date Posted: 28 May 2014
Details: Want to have your composition performed next year?....
Yeah you do!!!

Through out the the 2014-2015 season WE will be selecting and performing new works for the Duo of violin and viola.

1. There are no guidelines or fees!!
2. Your composition must be awesome. (very very important!!!)
3. You can use scordatura tuning (but not rules #1 and #2)
4. Summit compositions to us through our email address icon at top right corner
4a. include a resume/bio
4b. include PDF of composition....score and individual parts
4c. recommended to also summit any recording or midi of the piece
4d. last but not least your contact info.

Web Site:

 Wild Rumpus New Music Call
Summary:Chamber Music Call
Deadline: None
Date Posted: 22 May 2014
Details: Deadline: Rolling.

Wild Rumpus is happy to consider pieces by young/emerging composers that match our instrumentation (or a subset of it) for performance by the ensemble. Our instrumentation is:

electric guitar
double bass

Composers who fall under at least ONE of the following categories are eligible to apply:

(a) Composers under 40
(b) Composers of any age who are not regularly commissioned by ensembles of national or international prominence

Application Materials
For each piece, submit:

Score (PDF)
Recording (MP3) — some exceptions possible; please see our FAQ.
A bio (suitable for printing in a concert program) and resume/CV
There is no fee to apply.

Please note that this call is rolling. We’ll select pieces from the general call as needed, depending both on our interest in the piece and the logistical demands of the concert for which we’re programming.

Web Site:

 2014 Summer Choral Composers Forum
Summary:Choral Composing Course
Deadline: None
Date Posted: 07 January 2014
Details: The Lehigh Choral Composers Forum, in association with the ACDA, offers a unique opportunity to composers of all levels to explore and develop their compositional voices in a weeklong intensive seminar held at Lehigh University's beautiful Zoellner Arts Center. The emphasis of the Forum is on the compositional process. Composers accepted into the program are asked to come with ideas, not finished pieces. In the course of the week, these ideas are developed, discussed, and tried out in rehearsals with the professional a cappella ensemble, The Princeton Singers.

Under the leadership of Steven Sametz and Tania León, composers are encouraged to be adventurous. This is an opportunity you may never have again: to hear a professional ensemble read through a portion of a work one day, get feedback, rework it, and hear it another way at rehearsal the next day.

Each morning, seminars led by Sametz and León help composers to develop their unique compositional voices. Afternoons, there is one-on-one time with each student sharing individual ideas with the mentor-composers. This is an environment that supports compositional risk-taking as well as building on what you already do well.

On Saturday, June 29th, an informal concert of the works created in the seminar will be held at Lehigh University's Baker Hall, a 900-seat state-of-the-art concert hall. Composers come away with a professional-quality recording of their works by The Princeton Singers.

The week also includes information and discussion on the ever-shifting world of music publication. How do we best get our works out there? How are publishers looking at new compositions? How can we best market our works to get as many performances as possible? Many works from past Lehigh Composers' Forums have been published by major publishing houses.

The seminar is co-sponsored by The American Choral Directors Association and is available for graduate credit through ACDA.
Web Site:

 Soundscape Festival 2013
Summary:Festival call for scores
Deadline: None
Date Posted: 31 December 2012
Details: Composers are invited to apply for the 2013 Soundscape festival in Italy submitting one score and the application form which can be found on the festival's website listed above.
Web Site:

 11th Joan Guinjoan International Prize for Young Composers
Summary:Prize for ensemble
Deadline: None
Date Posted: 31 October 2012
Details: 1.The contest is open to composers of every nationality under the age of 35 at December 1st, 2012. Former winners of this award are not allowed to submit again.
2.Each participant may submit an unlimited number of works, which cannot previously have been published, premiered or commissioned. Works performed in the educational context of conservatories and schools of music will not be considered premieres.
3.The work, in a contemporary style, should be 10 to 15 minutes long.
4.The work must be written for an open formation of 6 to 15 instruments, with optional electronics, chosen from among those in an orchestra, piano, accordion, guitar, voice and typical jazz –electric guitar, bass and keyboards– instruments, “cobla” instruments, and instruments of early music: harpsichord, recorder, viola da gamba, cornet, sackbut, early bassoon and plucked string instruments. It is also possible to include a small choir of four voices (SATB, 4-4-4-4), which will be considered as four different instruments. There may not be more than two instruments the same, except for violins, for which there is a maximum of 10, violas and cellos, for which there is a maximum of 4.
5.The composer must submit six copies of the score and one registration form for each work presented. The work must be written and printed with a notation software which allows automatic extraction of parts, or the participants must commit to send the parts in case of being winners. Once the winner has been chosen, the composers may collect 5 copies of their works within one month from date of the award. One copy will remain in the archives of the School.
6.The amount of the award is 3.000 €. The chosen work will be premiered by the Escola Superior de Música de Catalunya with the option to be professionally recorded on CD by the School.
7.Apart from the winning work, the jury may decide to give honorific mentions to other works submitted which are considered of special interest. The works worthy of this distinction will be premiered together with the winning work.
8.The Escola Superior de Música de Catalunya will have publishing and distribution rights to the score, the CD or any other format of the winning work.
9.All written or audio-recorded editions of the winning work will be marked “Premi Joan Guinjoan de l’Escola Superior de Música de Catalunya, 2012”.
10.The jury will be made up of five composers chosen from the Department of Theory and Composition of the School. The names of the members of the jury will be announced once the award decision has been made public. Their decision may not be appealed. The decision will be announced before January 10th, 2013.
11.The deadline for submitting scores is December 1st, 2012.
12.The works will be submitted under pseudonym.
2nd Prize:Euro 3000
Age Limit:35
Duration:6 to 15 minutes

 C4 Ensemble
Summary:Call for choral scores
Deadline: None
Date Posted: 18 September 2012
Details: The C4 ensemble invites composers to submit scores for chorus and electronics for possible future performances. More details can be obtained from the ensemble via the link listed above.

 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.

 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.


 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.

 North/South Consonance
Summary:call for scores (various combinations)
Deadline: None
Date Posted: 20 April 2011
Details: - All composers are eligible for consideration
- Solo, chamber ensemble and chamber works up to 18 performers will be considered
- Vocalists, percussion and/or electronics are acceptable
- One work will be selected for recording on the North/South label
- $25 non-refundable fee per composition submitted required
(Checks must be negotiable through a US bank)

Complete submission guidelines posted at

Mail submissions to

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

 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.

 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

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: