Site Search

Other Resources
News Archive

 CMC BC 40th Anniversary Celebration Trumpet Fanfare Composition Competition
Summary:Fanfare Competition
Deadline: 06 October 2017
Date Posted: 13 September 2017
Details: In celebration of the Canadian Music Centre in BC’s 40th anniversary (1977-2017), we are pleased to announce a composition competition for an original 40-second trumpet fanfare. The winning entry will celebrate some aspect of the CMC in BC’s contribution to the cultural life of the Province of British Columbia over the past 40 years. Submissions may be scored for one of B-flat trumpet, C trumpet, or B-flat flugelhorn. Note: only one of the above instruments is to be used throughout the piece. Works including electronic elements cannot be considered.

The grand prize for the winning entry is $500. The deadline for submissions is Friday, October 6, 2017. Submitted works will be adjudicated by a panel of CMC Associate Composers, chaired by the BC Director as a non-voting member of the panel. The contest is open to all Canadian citizens and permanent residents of Canada without age limit. Each composer may submit one entry. The composition must be original and unpublished.

Scores must be submitted anonymously, either as hand-written manuscripts or as PDF files. Unsigned hard copies should be accompanied by a separate page listing the name of the composer, address, birthdate, email address and phone number. Emailed PDF files should contain this information within the body of the email. To ensure anonymity, each entry, as it is received, will be assigned a unique identifier by CMC staff.

Compositions may be emailed as a PDF to, and/or dropped off at the Vancouver Creative Hub at 837 Davie Street, Vancouver, BC, V6Z 1B7 between the hours of 9:00 AM to 4:30 PM, Monday to Friday. The winner of the competition will be announced on November 2, 2017, and all submitting composers will be notified at that time. Composers may arrange to pick up any submitted hard copies after the adjudication process is complete.

The winning entry will receive its premiere performance at the Gala 40th Anniversary Open House on Friday, November 10, 2017, between 5:00 to 7:00 PM.

Summary:Piano call for scores
Deadline: 01 November 2017
Date Posted: 13 September 2017
Details: Dolomiti Symphonia Orchestra and the family of Pietro and Cecilia Vannini promote the first composition competition for piano and string orchestra “Dante Moro”. Their desire is to remember the great sculptor, painter, and engraver from Falcade Dante Moro (1933-2009), and to allow a dialogue and a comparison between visual and musical arts. The jury will examine the received compositions and will choose the best piece, which will be performed during the public concert that will take place in Falcade (BL – Italy) on January 4, 2018, at the Parish Church.

I – Contestants
The contest is open to Italian and foreign composers without age limits, including students from academies, public and private schools.

II – Required work type
The competitors are invited to compose a musical piece no longer than 12 minutes for piano and string orchestra. The piece has to be inspired and has consequently to bear the title of a sculpture by Dante Moro at the competitor’s choice, whose photographic reproduction is available on the website

All genres and styles are well accepted, but no compositions requiring a prepared piano will be admitted.

III – Application procedure and registration
The full score can be sent in one of the following ways according to the competitor's choice:

A) Score in PDF format attached to an e-mail message to be sent to and to (maximum 10 MB, otherwise please use transfer services like

B) Three hard copies to be sent by ordinary mail to the artistic direction of the contest:

Silvia Tessari,
Via Agostino Murer 3 32020 Falcade (BL) Italy
Please indicate clearly on the score that the piece has been composed for the Composition Competition “Dante Moro”, edition 2017. Copies of the score will not be returned.

The scores will be sent to the judges anonymously so please do not write your name on the scores, but a motto or pseudonym.

The winner will also be asked to send separate parts.

Together with the score, the competitor must send (by e-mail or postal mail) a self-certification containing the following data:

- Name, surname, place and date of birth, nationality, address, e-mail address, telephone number. - The same motto/pseudonym which appears on the score.
- Duration of the composition (maximum 12 minutes).
- Declaration of acceptance of the competition rules.

- Declaration by the author attesting that the submitted composition is unpublished and never publicly performed.

- Declaration of consent that the competitor waives all rights of remuneration for the broadcasting, televising or recording of the performance of his/her work at the final public concert (January 4, 2018).

- Declaration of consent to the processing of the participant’s personal data for competition purposes (Italian Legislative Decree 196/03).

- Artistic bio.
- Recent photography.
- Photocopy of an identity document.

The application deadline is November 1, 2017. An application fee of 50 euros is required. For information on accepted payment’s methods, please write an email to the artistic director:

IV – Jury
The chairman of the 2017 competition is Professor Paolo Troncon, pianist and composer, professor and director of many Italian conservatories. The jurors will be Mario Pagotto, Nicola Straffelini, Claudio Scannavini (composers and teachers at Italian conservatories), Delio Cassetta (conductor). They will work together with the artistic director Silvia Tessari (pianist).

V – Competition procedures
The decisions of the jury are final. Each jury member must abstain from voting in cases of kinship, affinity, relationship with one or more contestants. The jury will meet to declare the winner by November 15, 2017.

VI – Award ceremony
The award ceremony will take place during the concert in honor of Dante Moro, which will be held in Falcade (Belluno, Italy) on January 4, 2018, at 9 pm. The winner composition will be performed by Dolomiti Symphonia Orchestra (conductor: Delio Cassetta) and by the solo pianist Silvia Tessari.

VII – Prizes
The winner of the Contest, in addition to the first public performance of his/her piece, will receive a cash prize of 1000 euros, thanks to a generous donation of Mr. Alberto Faggion and family, a copy of the audio recording of the award ceremony and an overnight stay at the expense of the organization in the Falcade area on January 4, 2018 (only if the competitor will be present). At the discretion of the jury, further special prizes will be given.

VIII – Cancellation
The organization reserves the right to cancel the Competition, for any event that is outside the organization’s will. In this case, the application fee will be refunded.

IX - Records and Performance
The competitors waive all rights of remuneration for the broadcasting, televising or recording of their performance at the final public concert (January 4, 2018).

X – Contacts
Silvia Tessari
Via Agostino Murer 3 32020 Falcade (BL)

 Not Art Records
Summary:Call for Electronic Music for Commercial Release
Deadline: 01 December 2017
Date Posted: 13 September 2017
Details: Not Art Records is pleased to announce its second annual call for submissions. Our aim for this call is to discover recorded works that represent quality and genuine innovation in electronics-oriented composition. One entry will be selected for a commercial release of 2 to 6 pieces. Up to five additional entries will be featured on our 2018 Mixtape.

Not Art Records is a digital platform supporting composers, improvisers, and ensembles. Our artists include Grammy winner Cory Smythe (of International Contemporary Ensemble), Heather Stebbins, Ubu Boi, and many more.

deadline: 11:59pm est, december 1st 2017
submission fee: $15

• Composers should submit between 2 and 6 works, with a minimum total playing time of 10 minutes.
• Electronics must be used in the creation of the works, but needn’t make up the entirety of the sound. We are equally open to purely electronics submissions and those that utilize acoustic elements.
• We welcome acousmatic works, electro-acoustic works, installations, and all other electronics-oriented sound art genres.
• Submissions must be in two channel stereo.
• Applicants may be of any nationality and age.
• We can not accept any hard copy submissions at this time.
• All works submitted must not be already available for purchase or download online, now or at anytime in the past.
• If selected, we ask that chosen works are taken down from any present streaming sites (soundcloud, youtube, etc).

Selected works will be exclusively distributed and sold by the label for a minimum of three years. Copyrights will remain with the creator.

the submission chosen for commercial release will receive:
• The release of their submitted work at no further cost to the creator
• 80% of all sales
• Artwork and design by collage artist Brook Herr
• Digital distribution, including Amazon, Apple Music, Spotify, Itunes, Bandcamp, and others
• Introductory publicity on the release, included press releases and audio samples sent to appropriate potential reviewers, blogs, and other digital media. Artists are encouraged engage in this process with us.
• Publicity via Not Art Records social media accounts

application materials:
• Bio
• Links to submitted recordings, as Mp3s, WAVs, or AIFFs. We suggest googledrive, dropbox, or unlisted Youtube. There is a video here on how to do this with Googledrive. Password protection is not required but feel free to do so if you prefer, you can add the password in the form below. If you have any technical issues pasting the links onto the form please email us at
• Description of the submitted work, up to 500 words
• Optional URL for your website, or whatever social media page you feel best represents you
• Submission fee of $15. The fee goes toward artwork, distribution, and promotion of the selected entry.
• If you are interested in supporting our cause, please like our Facebook Page.

 Fondazione Adkins Chiti: Donne in Musica
Summary:Call for Double Bass Works
Deadline: 27 September 2017
Date Posted: 13 September 2017
Details: On behalf of BASS2018LUCCA, the Fondazione Adkins Chiti: Donne in Musica has set up an international call for a work for double bass and orchestra. Scores will first be adjudicated by the Foundation’s International Reading Commission (composers from Austria/ China/ Cyprus/ Italy/ Luxembourg/ Slovenia/ South Africa) and 15 scores will be chosen. A second Jury presided over by Fabrizio Papi, Director of ISSM “Luigi Boccherini” of Lucca and including Gian Paolo Mazzoli, Gabriele Ragghianti and Alberto Bocini will make the final choice. The Work chosen will be mandatory set piece for participants in final public rounds of the Solo Double Bass Competition during BASS2018Lucca (Italy) from 30th July to 5th August 2018. The author of the chosen work will be offered a publishing contract by one of Germany’s oldest and most prestigious publishers FRIEDRICH HOFMEISTER MUSIKVERLAG.

Rules and Regulations:
1) This call is open to women composers of all nationalities, ages, working in all genres.
2) Instrumentation requested: Four-stringed Double Bass and Orchestra – woodwind brass 1 timpani, 2 percussionists. Harp, strings,1 Due to the tuning of the double bass, the soloist’s part must be written a tone lower than the desired effect and of other instruments

3) Duration – 8 minutes

4) Works should use traditional notation without extended techniques, prepared instruments or complicated changes of rhythm.
5) Compositions, ideally containing references (elements, themes, melodies) linked to the music by Lucchesi composer, Francesco Geminiani, should preferably be in two sections or movements with contrasting characteristics; one with elements highlighting the melodic and cantabile capacities of the instrument and the other using more technical and virtuoso elements.
6) Scores to be submitted in PDF files to: marked “BASS 2018 LUCCA”. Do not send recordings or MP3 files.
7) Please also send a 10 line biography including nationality, contact address, date and place of birth (in Times New Roman 12) as WORD file.
8) Deadline for submission: 27th September 2017
9) Submission fee of Euro 25,00 for administrative costs, by Paypal ( All payments receive regular tax receipts.
10) For (a) copies of PDF scores by Francesco Geminiani, (b) general queries or (c) information about other methods of payment please

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

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

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

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

The voice parts may be:

Four part: SATB

Three part: SAB

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

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

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

1st Prize £500

Deadline for submissions: 1st February 2018.

For further information and sample plainchant music, please contact:

Steve King

Director of Music at Heriot Watt University


 ilSuono Academy and ensemble Suono Giallo
Summary:Chamber Call with Commission
Deadline: 15 October 2017
Date Posted: 13 September 2017
Details: ilSuono Academy and ensemble Suono Giallo are pleased to announce the International Call For Scores & Commission 2017.

The main purpose of the call is the commission of one brand new work to be written exclusively for ensemble Suono Giallo in its entire formation. The world premiere will be given by the ensemble at one of the concerts of the 3rd International ilSuono Academy for Young Composers 2018 that will take place in Città di Castello, Italy in July 14-22, 2018.

Additionally, the ensemble wishes to select a small number of works (2-3) with instrumental line-ups that match the entirety or subsets of ensemble Suono Giallo's formation. The selected works will be programmed the following season.

Any composer is eligible to apply regardless of age.

Sunday, October 15, 2017 (by 11.59pm, Italy time)

Application Materials:
Through the online application form, which can also be found on the link/button at the bottom of the page, composers should submit:

a) links (Dropbox or Google Drive) to the scores (pdf) and recordings (mp3) of up to 2 existing and recent works (at least one).

b) a link to a pdf that includes the following composer's information:
-First Name
-Last Name
-Date of Birth
-Email Address
-Current Address
-Telephone Number
-Title, Instrumentation, and Year of Composition #1
-Title, Instrumentation, and Year of Composition #2 (if applies)

Note1: The scores and recordings should be submitted anonymously. None of the files should bear anywhere the name of the composer or other identifying information.
Note2: Please, make sure the submitted links are permanent!

Application Fee:
An application fee of €20 should be payable through Paypal to
Please, find a direct Paypal link/button at the bottom of this page.

Even though not required, it would better serve the purpose if the submitted works are composed for small instrumental line-ups (2-6 players). In this way, the committee will be able to shape a clearer and more profound understanding on the composer's chamber writing.

Selection Committee:
ensemble Suono Giallo
Andrea Biagini, flute
Michele Bianchini, saxophone
Laura Mancini, percussion
Simone Nocchi, piano
Theocharis Papatrechas, composer & director

After the evaluation of the submitted works, the committee will choose one applicant to commission and a number of works to program. As soon as the winning applicant and the selected works are decided by the committee, the pdfs bearing the composers' information will be opened.

The selected composers will be informed and announced by the end of October 2017.

The commissioned composer will be asked to write a new work exclusively for ensemble Suono Giallo in its entire formation:
Flute (piccolo, concert, alto, bass)
Saxophone (soprano, alto, tenor)

Electronics are allowed.

The duration of the new work should be strictly 8-10 minutes.

The new work (score & parts) should be submitted no later than Monday, April 2, 2018.

• The commissioned composer will be compensated with the total amount of €400 right after the submission of the new work.
• Additionally, the professional multitrack recording and video footage of the world premiere will be both available to the composer right after the closure of the 3rd edition of the academy.


Summary:Electroacoustic Call 3 Categories
Deadline: 29 September 2017
Date Posted: 13 September 2017
Details: Tecnológico de Monterrey announces the

3rd Edition

To support the creation and the spread of electroacoustic pieces Tecnológico de Monterrey Campus Santa Fe organizes the process of selection of pieces that will be part of the Electroacoustic Music Festival “Ecos Urbanos”.

There will be three categories of participation:

CATEGORY I: Live Coding, Circuit-bending, Laptop ensembles or Free improvisation with electronics:
• Individual Participation *
• Collective Collective *

CATEGORY II: Multi-channel electroacoustic pieces from 4 to 8 channels
• With recorded material (no live sound sources)
• Sound Generated live by a computer

CATEGORY III: Video and electroacoustic music from 2 to 4 channels
• Recorded
• Generated live by a computer

* These sub-categories will be exclusive for residents of Mexico City

• The process of selection is open to composers and sound artist from any nationality and age, each of whom may submit only one work by their own creation.
• Non-residents of Mexico City who would like to participate in the sub-categories for residents must bear their own expenses and must be able to be present in Mexico City on all the dates of the festival.
• All participants must fill in the registration form: FORM
• All participants must deliver a signed PDF file giving permission to the organizers to present their pieces in non-profit public concerts during the festival. Sample Letter

For Category I:
o The submitted material will be video files (7 to 15 minutes total in MOV format), showing previous complete performances or fragments by the artist or group of artists.
o Ensembles can be from 2 to 10 performers and it is open to groups of individuals, music ensembles, collectives or laptop orchestras.
o In the registration form, the performance should be given a name (e.g.: Improvisation # 1, etc.)

For Category II:
o The submitted material will be:
• For pieces with recorded material:
• a ZIP file with the audio files for each channel in WAV or AIFF format
• A stereo version of the piece for evaluation purposes
• A PDF file specifying the location of each file in the arrangement of speakers.
• For pieces generated by a computer:
• A ZIP file with the necessary patches, programs and files to perform the piece.
• A stereo file with one of the possible results of the performance of the piece for evaluation purposes.
• A PDF file specifying the software to be used and the instructions and technical requirements to perform the piece and distribute the sound in the arrangement of speakers.

For Category III:
o The submitted material will be:
• For pieces with recorded material:
• a ZIP file with the audio files for each channel in WAV or AIFF format and the video file in HD o SD.
• A stereo version of the piece for evaluation purposes
• A PDF file specifying the location of each file in the arrangement of speakers.
o For pieces generated by a computer:
• A ZIP file with the necessary patches, programs and files to perform the piece.
• A stereo file with one of the possible results of the performance of the piece for evaluation purposes.
• A PDF file specifying the software to be used and the instructions and technical requirements to perform the piece and distribute the sound in the arrangement of speakers.

• The pieces or performances should last from 7 to 15 minutes.
• The artists who participate in Category I will be responsible to bring to the festival any musical instruments or music performers that may be required for the pieces.
• All applications must be sent via (or equivalent web file transfer service) in 1 single ZIP file to the email
• IMPORTANT: The name of the ZIP file should be identical to submitted piece.
• The deadline for submissions is 11:59 PM September 29th, 2017 (Time of Mexico City). Applications sent after the deadline will not be considered valid.
• The list of selected works will be announced no later than October 20st, 2017. Composers and sound artists whose works are selected will be notified about the date when they will be played on the festival.
• Any questions regarding these regulations and their interpretation shall be clarified by the organizers of the festival from Tecnológico de Monterrey.


 The Esoterics’ annual competition for choral composition
Summary:Choral Commission
Deadline: 30 September 2017
Date Posted: 13 September 2017
Details: POLYPHONOS is The Esoterics’ annual competition for choral composition. The name of the competition comes from the Greek πολυφωνος, meaning “many voices” or “manifold in expression.” Now in its eleventh season of hosting this competition, The Esoterics is excited to announce its international call for a cappellachoral scores for POLYPHONOS.

The Esoterics is dedicated to performing and perpetuating contemporary a cappella choral settings of poetry, philosophy, and spiritual writings from around the world. The purpose of The Esoterics’ POLYPHONOS is to encourage today’s choral composers to broaden the scope of the a cappella choral repertory by setting sacred and poetical texts found beyond the Western classical canon in order to create a repertoire of choral concert music that reflects the universal beauty and power of unaccompanied voices joined in song.

2017 Competition:
Each winning composer will receive a commission from The Esoterics to plan and compose a new choral work that will be premiered by the ensemble in its 25th anniversary season in 2018. In addition to this commission, each of the winning composers will receive $1000 US plus airfare and accommodations to attend the Seattle premiere of their commissioned work. There will be up to three POLYPHONOS awards:

• International composer’s 2017 commission (for choral composers who are not US citizens)
• National composer’s 2017 commission (for choral composers who are US citizens)
• Young composer’s 2017 commission (for choral composers under age 30 as of 31 December 2017)

Download the application here.
NEW DATES for 2017!
The 2017 POLYPHONOS submission deadline has been extended to 30 September.
All applications must be complete and received by that date.
The winners of the competition will be announced on or around 10 October.
Entry requirements:

Please send all submissions to:

The Esoterics
1815 24th Ave
Seattle WA USA 98122-3014

Please include in your submission:
• A completed application entry form
• A current composer’s biography (including date of birth) and works list or CV.
• A portfolio of three (3) contrasting a cappella choral scores,
including separate pages that include song texts and translations.
The scores must follow these requirements:
o At least one submitted score must be in a language other than English.
o At most one sacred score should be submitted, regardless of religious tradition.
o Include the date of composition on the score.
o All scores must be composed in the last 10 years.
o All identifying marks from submitted scores must be removed,
including names of composer, publisher, dedication, performers, commissioners, etc.
o Arrangements of preexisting tunes will not be considered, however limited quotation is allowed.
o All scores should be generated in music notation software.
Hand-written (manuscript) scores will not be accepted.

Other rules and guidelines:
• Please do not send recordings.
• Only one portfolio will be allowed per composer.
• Incomplete applications will be neither considered nor returned.
• All application materials are considered property of The Esoterics, and will not be returned.
• All composer portfolios must be received by the submission deadline.
Hand-delivered scores will not be accepted or considered as valid entries.
• All submissions will be evaluated by a panel of composers, conductors, and experienced choral singers.
• All commissioned works will be reproduced solely for performance by The Esoterics.
• All POLYPHONOS commissions are to be completed within a theme and by a date
to be determined by the winning composer and The Esoterics’ director, Eric Banks.
• The Esoterics will have a non-exclusive, worldwide license to perform each commissioned work.
• The Esoterics will retain the right to record the first performance of each commissioned work.
• The Esoterics will retain the right to record and release the first CD of each commissioned work.
• Winners of POLYPHONOS are encouraged to apply again in the year AFTER the premiere of their POLYPHONOS commission.
Questions? Please send an e-mail to


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

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

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


 WNMF Composers Institute
Summary:Orchestral Competition
Deadline: 01 October 2017
Date Posted: 13 September 2017
Details: Jan. 27–Feb. 2, 2018
Winnipeg New Music Festival, Manitoba Centennial Concert Hall

Submission deadline: October 1, 2017

An intense and prestigious experience for six Canadian emerging composers including:

• A world premiere of their orchestral composition performed by the Winnipeg Symphony Orchestra at WNMF
• An archival audio recording of their premiere
• Work closely with mentor composers Samy Moussa, Karen Sunabacka, and Harry Stafylakis
• Attend all Winnipeg New Music Festival concerts and events
• Attend rehearsals with Philip Glass and other WNMF guest composers and artists
• A week of professional development workshops, lessons, and masterclasses
• $1500 participation fee waived (covered by the WSO Canadian Voice Fund)
• Honorarium to assist with travel and accommodations to Winnipeg, Manitoba for the week of January 27–February 2, 2018

Following a successful inaugural year, the Winnipeg Symphony Orchestra announces its second annual WNMF Composers Institute to be held during the Winnipeg New Music Festival, Jan. 27–Feb. 2, 2018.

Writing for orchestra is one of the great accomplishments of a composer’s creative life. There are, however, few opportunities for Canadians in the early stages of their careers to engage with the medium in a practical, hands-on environment. The symphony orchestra presents many challenges, including effectively balancing the orchestra’s many instruments and communicating clearly with the conductor, musicians, and audience.

The WNMF Composers Institute provides a unique professional training opportunity for young composers, who will be immersed in the orchestral world through mentorship by some of Canada’s leading orchestral composers and through close integration with the renowned Winnipeg New Music Festival.

In this second year of the Institute, six student composers – two each from Manitoba, Eastern Canada, and Western & Northern Canada – will be selected to participate in the WNMF Composers Institute. These six composers from across the nation will have their orchestral works workshopped and performed in a public reading by the Winnipeg Symphony Orchestra during WNMF 2018, led by WSO’s resident conductor Julian Pellicano, and with the guidance of this year’s mentor composers, Samy Moussa and Karen Sunabacka.

In collaboration with the Canadian Music Centre, the winner of the CMC Prairie Region Emerging Composer Competition will also participate in the WNMF Composers Institute and will have their work performed by the WSO at WNMF 2018.

The participants will experience the week-long Winnipeg New Music Festival from behind the scenes, attending rehearsals and concerts. In addition, professional development workshops will be held throughout the festival, led by WSO’s Composer-in-Residence Harry Stafylakis and the Composers Institute mentor composers. Panels, workshops, lessons, and masterclasses will also feature several of WNMF 2018’s guest composers visiting from throughout Canada and from abroad.

Eligibility & Guidelines
• Applicants must be Canadian citizens or permanent residents currently enrolled in a university degree program in music composition. Applicants who completed their degree in the 2016-17 season are also eligible.
• There are no age restrictions; however, applicants should be composers at the early stages of their professional careers.
• Each composer may submit only one composition for consideration.
• Past Composers Institute participants are not eligible.
• Only works that will not have been officially premiered prior to the WSO world premiere date are eligible. Works that have been read in an academic context are eligible.
• A recording is not required but highly recommended. Computer mockups are acceptable.
• Only works completed after January 1, 2013, will be considered.
• Maximum duration is 6 minutes. Excerpts or single movements from multi-movement works will be accepted, if they are presented with coherent beginnings and endings.
• Instrumentation cannot exceed: winds at *2,*2,2,2; brass at 4,3,3,1; timpani plus 2 percussion; harp; and strings (12, 11, 8, 7, 6). *Available doublings are: Flute 2/Piccolo and Oboe 2/English Horn. Works with instrumentation that exceed the above will not be considered; they may, however, be re-orchestrated to conform to this instrumentation.
• Works requiring soloists or employing electronics, MIDI, digital technology, and/or sound reinforcement in combination with the above instrumental forces will not be considered.
• The quality of the score submitted is the primary evaluation criteria. It is therefore in the applicant’s best interest that the score be clear, accurate, and the best representation of the composer’s work. The additional background information is for eligibility and documentation purposes, these materials are not considered in the general review of scores.
• Applications that are incomplete, illegible, late, or that do not meet the above criteria will not be considered.

Instrumentation cannot exceed: winds at *2,*2,2,2; brass at 4,3,3,1; timpani plus 2 percussion; harp; and strings (12, 11, 8, 7, 6). *Available doublings are: Flute 2/Piccolo and Oboe 2/English Horn. Works with instrumentation that exceed the above will not be considered; they may, however, be re-orchestrated to conform to this instrumentation.

N.B.: There will be one 20-30 minute rehearsal before the public readings of the selected works. The suitability of entries for performance with this amount of rehearsal will be a factor in the jury’s deliberations.

MAXIMUM of 6 minutes. Excerpts or single movements from multi-movement works will be accepted, if they are presented with coherent beginnings and endings.

Application Deadline
Submissions must be completed no later than October 1, 2017 at 11:59 pm (CDT), including all materials and letter of recommendation. Selected composers will be notified by October 15, 2017.

If Selected
• Selected composers will be notified by October 15, 2017.
• Participants must attend the rehearsal & reading sessions and professional development workshops in Winnipeg, MB, which will take place as part of the WSO’s Winnipeg New Music Festival, Jan. 27–Feb. 2, 2018.
• Every successful applicant’s $1500 participation fee will be waived, covered by the WSO Canadian Voice Fund.
• Participants will be given a small honorarium to assist with their travel and accommodations to/from Winnipeg. Any additional expenses incurred are solely the responsibility of the participants.
• Participants must provide professional, legible orchestral parts and scores in PDF format, prepared according to guidelines established by the Major Orchestral Librarians Association (MOLA).
• First deadline: conductor’s score and sample parts must be delivered no later than 12:00 PM (noon) CDT, November 1, 2017.
• Participants will receive feedback on their scores and parts from WNMFCI mentor composers and conductor by November 15, 2017.
• Final submission of all materials (conductor’s score and complete set of parts) must be delivered no later than 12:00 PM (noon) CDT, December 1, 2017.
• Composers agree to: submit photos and sound clips for web use and a short biography for media purposes; to participate in blogging and social media to be videotaped/recorded for archival and promotional purposes; and to have their music recorded for archival and study purposes.

Review the submission guidelines above. Submit all of the following materials:
• The completed Application Form, linked here.
• In the Application Form you’ll be asked to provide links to downloadable files (PDFs and MP3s) of your supporting materials, including:
• A PDF score of the orchestral work; use the naming format LASTNAME-PieceTitle.pdf
• An MP3 recording (highly recommended; MIDI realization acceptable); use the naming format LASTNAME-PieceTitle.mp3
• A current artist resume, in PDF format, including educational background, major teachers, awards, and professional affiliations; LASTNAME-Resume.pdf
• A list of works, in PDF format, including title, year composed, instrumentation, duration, and performance history; LASTNAME-Works.pdf
• One letter of recommendation from an established composer or other music professional, attesting to the applicant’s accomplishments and potential as an orchestral composer. The recommendation must be on letterhead and must include a signature. The recommender can email the letter directly to by the application deadline.
• There is no application fee.
• The application process must be completed by 11:59 pm (Central Standard Time), October 1, 2017. Late submissions will not be considered.

The links to your supporting materials must remain active until the WNMFCI participants are announced.

Email submissions to:

Email questions to:
Harry Stafylakis
Composer-in-Residence, Winnipeg Symphony Orchestra
Festival Director, Winnipeg New Music Festival

For more information about the Winnipeg Symphony Orchestra and the Winnipeg New Music Festival, visit:


 Yvar Mikhashoff Pianist/Composer Commissioning Project
Summary:Solo Piano Competition
Deadline: 15 November 2017
Date Posted: 13 September 2017
Details: AWARD
• $4000 (US) to the composer for the composition of a new work for piano solo (with or without electronics) with a minimum duration of 12 minutes. The work is to be premiered between January 1 and September 1, 2019.
• $4000 (US) to the pianist for the performance of the new work.
• The competition will be judged by the Artistic Committee of the Yvar Mikhashoff Trust for New Music.

• A team comprised of a pianist and composer apply jointly.
• Both members of the team must have been born on or after January 1, 1983.
• Pianists who are composers may not apply to commission themselves.
• Pianists may not apply to commission a work that is already in-progress or has been publicly presented either in part or whole.
• Both pianists and composers may appear on only one application per cycle.
• Previous awardees of the Yvar Mikhashoff Trust who meet the above qualifications are eligible to apply.
• Previous first-prize winners of the Commissioning Project are ineligible to apply.
• Previous applicants may apply with the same or different partners.

• On or after September 1, 2017

To create an account, you must request a user name and password. Applicants who have created accounts and submitted applications in the past will need to create a new account. The pianist and composer apply as a team, with either the pianist or composer acting as the Lead Applicant. Send an email to with the text of the email including the composer’s name, the pianist’s name, both email addresses and indicating who will be the Lead Applicant. On approval of your request, ONLY the Lead Applicant will receive an email which includes the user name and password. If you do not receive a response after 48 hours, please send again.

• After you have created a user account, you are then able to create an application. (if you have not yet registered for this year's cycle, you will get a message that says "access denied") Click HERE to begin filling out the application.
• Once you have started an application, you do not have to complete it all at once, as long as you complete it by the deadline of November 15. Both members of the team may upload all materials directly through this site, using the same user name and password, as long as both are not attempting to do so at the same time.
• Once an application is started and saved, there will a box on the right hand side of the page titled 'View My Application'. Click your name, click the 'Edit' tab to continue filling out your application.
• Once both team members have uploaded all their application materials, the Lead Applicant should click the radio button in the 'FINISH' section at the bottom of the online application form to signify that everything is complete. This informs the judges that your application is ready to be reviewed.

From the pianist:
You may work on the application online, with the ability to save your work and upload documents. When you are satisfied that your application is complete, the Lead Applicant submits it. The required information includes:
• A one-page biography.
• A list of solo piano pieces and concertos in the pianist's repertoire composed since 1950.
• A demonstration recording with performances by the pianist of a total of three pieces chosen from the repertoire list. The performances may be live or edited. Solo piano is preferred; however, one piece may be a concerto or chamber work with a substantial piano part.
• Scanned copies of three programs of past solo piano recitals with at least 50% of the music composed since 1950. The same pieces may appear on more than one program.
• A recording, audio or video, documenting one of the above recital programs. This should not be edited, except to remove/limit applause.
• A proposal for the premiere of the commissioned piece, including a list of additional repertoire that you would consider performing with the commissioned piece on such a concert.
• A letter of agreement or intent from the presenting organization for a concert to take place between January 1 and September 1, 2019. The presenting organization may be affiliated with a college or university.

From the composer:
You may work on the application online, with the ability to save your work and upload documents. When you are satisfied that your application is complete, the Lead Applicant submits it. The required information includes:
• A one-page biography.
• A representative list of works and performances.
• A signed letter of commitment to the project, stating your agreement to compose the piece after January 1, 2018, with the premiere taking place between January 1, 2019 and September 1, 2019, and to attend the premiere. If the proposed piece includes electronics, the letter should describe the technical requirements.
• Scores and recordings of three recent compositions. It is preferable that one of the pieces to be for solo piano; however, if this is not available, at least one piece should have a prominent piano part.

Submissions will be deposited in the Yvar Mikhashoff Trust Archive at the University at Buffalo Music Library.

-Submission deadline: November 15, 2017
-Announcement of winner: January 2018

The winning composer will be required to provide the finished score and a demonstration recording to the Yvar Mikhashoff Trust for New Music. The score must include the acknowledgement: "commissioned by the Yvar Mikhashoff Trust for New Music". The score will be deposited in the score collection of the University at Buffalo Music Library; the score and the recording will also remain in the archives of the Trust at the University at Buffalo Music Library.

Questions about the Pianist/Composer Commissioning Project should be sent to Amy Williams, Competition Coordinator.

All other inquiries should be sent to


 Risuonanze 2018
Summary:Competition with Several Categories
Deadline: 19 March 2018
Date Posted: 06 September 2017
Details: Associazione Culturale TKE is calling for pieces to be performed at the “Risuonanze 2018 - incontri di nuove musiche” Festival, which will take place in Friuli Venezia Giulia region - Italy.

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

Pieces should be written or the specified instruments and chamber groups (please see below); use of tape and/or electronics is not allowed.

The submitted works should not have been premiered in any public performance in Italy; if selected, these works will be presented as “world premieres” or “Italian premieres”.

Works of any aesthetic and stylistic direction, not longer than 6 minutes in duration may be submitted.

All music performed in the Festival will be radio-broadcast and professionally recorded; composers will be given a copy of the recording of their works.

18 Euros (non-refundable) must be payed via bank transfer or PayPal as a donation for contribution to costs; this amount allows to submit 1 to 6 different works.

Festival “Risuonanze 2018” is based on the direct relationship between composers and audience, so composers attending the performances are much appreciated. In that case, there is no refund for travel and lodging fees.

Associazione Culturale TKE may select one or more pieces in each category; it may also decide not to choose any composition.


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

o solo Piano
o solo Violin
o solo Flute [C Flute, Piccolo, G Alto Flute]
o solo Oboe
o solo English Horn
o solo Clarinet [Bb/A/Eb Clarinet, Bass Clarinet]
o solo Trombone
o solo Concert Accordion
o solo Voice [mezzo-soprano, range: F3 to Fa5 (piano dynamics) or Ab5 (forte dynamics)];

b. DUOS:
o Voice [mezzo-soprano, range as before] and Piano
o two Violins
o Flute [C/Piccolo/G] and Clarinet [Bb/A/Eb/Bass Clarinet]
o Flute [C/Piccolo/G] and Oboe [English Horn]
o Clarinet [Bb/A/Eb/Bass Clarinet] and Oboe [English Horn]

c. TRIO:
Flute [C/Piccolo/G], Oboe [English Horn] and Clarinet [Bb/A/Eb/Bass Clarinet]

o Regarding vocal works, the text should be in the public domain, otherwise the composer should be authorized for its utilization;
o Works not longer than 6 minutes in duration;
o All submitted works must be “world premieres” or “Italian premieres” in the Festival;
o Submissions via email only;
o Each submission consists in:
a. one to six scores,
b. payment proof 18 Euros (bank transfer: IBAN IT58P0634067684510701023136, BIC/SWIFT IBSPIT2U, beneficiary: Associazione Culturale TKE, or Pay Pal: please click the button below - as Description of payment please write “Call for Scores Risuonanze 2018”)
c. a short biography (170 words max.);
o The scores must be attached as PDF files;
o The biography (in Italian or English) must be pasted as text in the body of the email, together with first name, last name, date of birth and nationality;
o The payment proof (bank transfer or PayPal) must be attached as PDF file;
o In the body of the email, please specify whether the pieces, if selected, should be presented as “world premiere” or “Italian premiere”;
o Send the submission via email to

The results will be announced not later than May 7th, 2018 on the Risuonanze website, and composers of the accepted works will be notified by email.

For any further information, please email:


 Youth Music Tutor - Lyric writing raps/songs/poems, Aptitude Organisation CIC
Summary:Teaching Post
Deadline: None
Date Posted: 06 September 2017
Details: Closes: 11th September 2017
Location: West Midlands
Type: Part time
Salary: Paid (£25k-30k pro rata)


Youth Music Skills Tutor - lyric writing £15-£25 per hour (depending on qualifications and experience)1-year Fixed, Term time only (38 weeks), 2 hours per week

Days & Hours: Thursdays 6-8pm. Additional hours may be available on an ad-hoc basis.
Actual salary for 2 hours per week term time: £1140 - £1900
Fixed Term End Date: 30/10/2018 (Initially)
Lead delivery of an accredited young people’s music programme which uses the tool of lyric writing songs and raps to support positive emotional development.

Hold relevant a qualification and/or experience in Music Performance Song/Poem writing, Sound Engineering, Music Technology, DJ Skills, Composition or other relevant music qualification

This post is subject to full enhanced DBS Service Check.
Location: The Crez, Jubilee Crescent Community Centre, Radford, Coventry CV6 3EX

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

ebsite: Tel: 07871 917936

We are also recruiting for:

Youth Programme Casual/Bank Staff £9 - £25 per hour (depending on qualifications and experience) 1 year fixed Term

Contract: Zero hours (bank staff) 1 year fixed
Days & Hours: ad-hoc basis.
Main Purpose of role:
Delivery of a specialist skill that contributes to a new exciting programme to engage young people to be empowered through various activities that are fun, safe, social and educational (team building, developing self-confidence).
Where appropriate you will cover staff annual leave, sickness and when added support is required for trips and events.
• To develop, deliver, facilitate and participate in games, activities and discussions with young people
• To supervise young people and ensure general health & safety and rules of conduct.
• Build positive links with young people and promote active participation in activities such as planning and delivery of group work programmes on health, fitness, smoking, drugs, gangs, violence, relationships and bullying.

Hold relevant a qualification and experience in Music Performance Song/Poem writing, Sound Engineering, Music Technology, DJ Skills, Composition or other relevant music qualification.

 2017 Composer’s Day: Writing for Opera and Bassoon Saturday 11th November – 11am-4pm
Summary:Masterclass Opportunity
Deadline: 22 September 2017
Date Posted: 06 September 2017
Details: The 2017 soundfestival annual Composer’s Day takes place on Saturday 11th November in Aberdeen. The two different composing themes for the day are opera and the endangered instrument the bassoon.

The day will consist of workshops, talks, and one-to-one surgeries led by leading composers Benedict Mason and Errollyn Wallen. The aim of the day is to give opportunities for composers to improve technical skills in contemporary composition for the bassoon and the genre of opera as well as developing general compositional ideas.

The renowned bassoonist Pascal Gallois will be joining us in the afternoon to lead a masterclass and he will select new pieces to workshop as part of the session. The masterclasses will be open to members of the public. We are inviting composers to submit repertoire for this element of the day.


Your piece must be for solo bassoon
Your piece should be no longer than five minutes long
You can write something new, or send in an unperformed work from your existing repertoire

How to Apply

The deadline for submitting a completed PDF score will Friday 22nd September 2017.
Please email your score to You must also complete an application form with your details (can be downloaded from and email it with your score.
If video examples are available, applicants can additionally submit web links (YouTube, Vimeo, etc.) by copying the URL in the application form.
Please note that you must be able to attend the masterclass in Aberdeen on the 11th November. Please note it costs £10 to attend the day.

We will let you know if your composition has been selected for masterclass by Friday 29th September 2017.

If you have any questions or need further information please contact or phone 01330 826526.

 Ablaze Records
Summary:Multiple Opportunities
Deadline: None
Date Posted: 06 September 2017
Details: Orchestral Masters, Vol. 6
Calling for Orchestral Scores for our Sixth Volume of Orchestral Masters to be recorded in Brno, Czech Republic with the Brno Philharmonic in summer of 2018.
CLOSING DATE: February 1, 2018

New Choral Voices, Vol. 3
Calling for Choral Scores (up to 16 voices divisi, a cappella) for our third volume of New Choral Voices CD to be recorded in Cincinnati, Ohio with the excellent Ablaze Records Choir Coro Volante directed by maestro Brett Scott in winter, 2017/18.
**NEW** CLOSING DATE: October 1, 2017

Electronic Masters, Vol. 7
Calling for new recordings of Electronic or Electroacoustic works for our seventh volume of Electronic Masters.
CLOSING DATE: April 1, 2018

Millennial Masters, Vol. 9
Calling for new recordings of Chamber music works for our ninth volume of Millennial Masters.
CLOSING DATE: April 1, 2018

Stage and Screen Series, Vol. 2
Calling for new scores of music written for stage or screen to be recorded by full professional symphony orchestra in 2018.
CLOSING DATE: February 1, 2018

Pierrot Ensemble Series, Vol. 3
Named after the ensemble created by Schoenberg for his landmark work Pierrot Lunaire, this is a call for scores for Pierrot ensemble (flute, clarinet, piano, violin, cello) but without voice and with the possible addition of one percussionist and/or fixed format electronics to be recorded by principal players of the stunning Brno Philharmonic Orchestra.
CLOSING DATE: February 1, 2018

Sinfonia Series, Vol. 2
This is a call for scores for Brno Philharmonic Ensemble, a large 15 member group consisting of one of each orchestral instrument (flute, oboe, clarinet, bassoon, horn, trumpet, trombone, bass trombone, tuba, piano, percussion (1), 2 violins, viola, cello and double bass) to be recorded the stunning Brno Philharmonic Ensemble.
CLOSING DATE: February 1, 2018

Composer Monograph CD—APPLY
Ongoing, submit your proposal anytime.

Performer Portrait CD—APPLY
Ongoing, submit your proposal anytime.

 OME New Music Festival
Summary:Call for Festival Involvement
Deadline: 22 September 2017
Date Posted: 06 September 2017
Details: WHO WE ARE: Oh My Ears (OME) is a new music presenting organization in Phoenix, AZ that seeks to connect emerging composers, ensembles, and musicians with each other and with the greater Phoenix community. OME is run by Elizabeth Kennedy Bayer (founder/Co-Director) and Amber Walker (Co-Director). You can read more about the directors on the OME website (

The OME New Music Festival is an annual event where we invite emerging ensembles, solo artists, and projects from around the country to perform new works by emerging and established composers. Jason Barabba returns in 2017-18 as Composer-in Residence. In addition to his work as a composer, Jason is the Executive Director of Synchromy, a non-profit presenter of new music in his home town of Los Angeles

WHAT WE DO: OME presents new music, and our definition of new music encompasses a wide range of genres and approaches. We are looking for music that comes out of traditions of artists like Pauline Oliveros, Steve Reich, George Lewis, John Cage, Laurie Anderson, Lou Harrison, Morton Subotnick, Unsuk Chin, or Julia Wolfe. New music is generally music of the 21st Century (though late 20th Century is most welcome). We program chamber ensembles like reed quintets, string quartets, or any group of musicians who play together. We program experimental groups, modular synth artists, soloist and multi-genre/multi-media projects. We want to see and hear what you’re up to, and we want to help you to tell your story, share your art, or get your music out there.

For the 5th Annual OME Festival we’re departing from our history of presenting a full-day marathon concert. Instead, we’re going to present multiple concerts at venues around downtown Phoenix, so that we can really present everyone in the best possible environment for their work, pairing them with other artists that we think work well together. We’re incredibly excited about the potential this change opens up for new dialogues and ideas.

WHAT WE CAN OFFER: Our minimum guaranteed fee is $50/person up to five people per ensemble. For groups larger than five, we can offer $20/per extra person. If we have a fantastic fundraising year, we will absolutely offer more. If you are traveling from out of town, we will do our best to arrange hosts for you to stay with, and will help you with connections to presenters in Flagstaff and Tucson in case you want to arrange for additional performances.

WHAT WE EXPECT: We expect everyone to be responsible and professional. We ask our artists to do their best to help promote their participation in our festival and use their social media presence to promote what they’re doing at OME. We also expect that artists will respond to communication in a timely manner so we can keep things running smoothly.

If you, your business or venue would like to be involved in this year’s Festival, please email the OME staff at admin (at) ohmyears (dot) com.


 2018 South Carolina Orchestra Performance Assessment Sight Reading Composition Contest
Summary:Sight-reading pieces
Deadline: 01 October 2017
Date Posted: 06 September 2017
Details: The Orchestra Division of South Carolina Music Educators Association is awarding honorariums of $500 (paid in US Currency) for 8 pieces chosen to be used for the Sight Reading portion of the State Orchestra Assessment (Concert Festival). This music should be suitable for school aged string orchestras. The PDF packet found at defines strict guidelines that must be followed for a piece to be considered for judging. Deadline for submissions is October 1, 2017 and winning composers will be notified early December.

 The Harry Freedman Recording Award
Summary:Call for Proposals
Deadline: 19 January 2018
Date Posted: 06 September 2017
Details: Deadline: January 19, 2018

About the Fund: The objective of the award is to offer a composer the resources to refine a work in order to generate a more definitive and satisfactory version for inclusion in a recording and future performances.

The Harry Freedman Fund was established by the Freedman family to commemorate the pioneering Canadian composer. The fund offers the Award every second year to a Canadian composer working in collaboration with one to six musicians, or a Canadian composer-performer. The award will contribute to the creative costs (rehearsal and editing of a piece), or the recording costs, associated with making audio recordings of Canadian composers’ music for a confirmed future commercial release—in any physical and/or digital format. The Harry Freedman Recording Award is valued at $3,000 Canadian.

Eligibility: A CMC Associate Composer in good standing is eligible to apply. Associate Composers over 65 who apply must be members (making a minimum $125 donation). CMC Associate Composers in good standing will have paid their $125 annual membership fee for 2018 prior to submission of their award application. Composers must apply in collaboration with a solo performer, a group of performers, or an ensemble of up to six performers. Proposals from composer-performers will also be considered.

The Fund accepts proposals that meet the following criteria:

1. The recording will be the first commercial release of the proposed work.
2. The proposed work has no more than six (6) performing parts, with or without electroacoustics.
3. The proposed work must be premiered prior to the release of the commercial recording.

Proposal Requirements: Proposals will be submitted through an online form, and should include the following:

1. Description: Describe the proposed recording project (3000 characters max)
2. Timeline: A brief outline of when the piece would be rehearsed, and the expected recording and release dates (2000 characters max)
3. Budget: Indicate how the $3,000 will be spent (2000 characters max)
4. Proof of Premiere (PDF): Documentation of a former performance, or an upcoming performance for the proposed work
5. Résumé or CV (PDF): Both the composer and performer(s) should submit résumés or CVs
6. Letter(s) of Agreement (PDF):
a. The composer and performer(s) sign a statement of intent that confirms their collaboration on the recording project and;
b. Where applicable, submit a short letter from a record label confirming a future release
7. Support Material:
a. A score of the proposed work (PDF)
b. An archival audio or video recording of the proposed work, preferably in performance or a demo recording from rehearsals (link to streaming audio/video), MIDI recordings will not be accepted
c. If the archival recording of the proposed work does not feature the performer(s) collaborating on the commercial recording, a separate recording of the collaborating performer(s) must be submitted to demonstrate their abilities (link to streaming audio)

*Streaming audio/video files should be hosted on Soundcloud, Youtube, Vimeo, Bandcamp, or another reliable streaming site. Files must remain available until March 2018.
** A proposal that does not include a score and recording of the proposed work will not be accepted
Proposals must be submitted electronically using the online form. Proposals must be received no later than 5pm PST on January 19, 2018. Submissions received past this date will not be considered. CLICK HERE TO SUBMIT ONLINE

Proposal Evaluation: Proposals will be evaluated on a competitive basis by a jury selected by the Canadian Music Centre. The Fund jury will be comprised of five members from the national music community who will offer their perspective on music composition, performance, and sound recording, among other topics.
Proposals will be assessed based on their artistic merit and the benefit to the respective careers of the affiliated composer and musician(s). The jury must also determine that an applicant will be able to carry out the project. Unsuccessful proposals will be encouraged to resubmit and, where possible, constructive feedback will be offered to encourage the realization of their recording.
The decision of the jury is final and there is no procedure for appeal.

Conditions: The successful applicant(s) will be announced and acknowledged at a public event to be held in Spring 2018 in Toronto, Ontario. The successful applicant(s) must guarantee that they and the performer(s) will be able to complete their selected project no later than April 2019.
The commercial recording must acknowledge the support of the Harry Freedman Recording Fund and the Canadian Music Centre in the liner notes.

Questions & Clarifications: Should you have any questions regarding the Fund and its Award, please contact the CMC Ontario Regional Office by e-mail at or by phone at 416-961-6601 x 207.

Representing Canada’s largest community of composers, the Canadian Music Centre has been connecting Canadians and sharing our stories, through music, for over half a century. The Centre provides access to an extensive collection of music and recordings (both digital and on-site) through five regional offices in Halifax, Montreal, Toronto, Calgary and Vancouver. We also provide music rental and publishing services for 24,000 works created by 850 Associate Composers since 1959.

For more information, please visit:


 Radio 3 launches Breakfast Carol Competition 2017
Summary:Carol Competition
Deadline: 01 November 2017
Date Posted: 06 September 2017
Details: Radio 3 is inviting listeners and budding composers across the country are invited to write a new Christmas carol.

The 2017 Radio 3 Breakfast Carol Competition challenges amateur composers to create a new carol for SATB choir (a cappella or with piano accompaniment) set to the words of Sir Christemas, a text thought to be written in the late 15th century.

David Hill (former chief conductor of the BBC Singers) will chair the judging panel, which will also include Judith Weir (Master of the Queen’s Music and associate composer with the BBC Singers), Jonathan Manners (BBC Singers producer), Margaret Cameron (an alto with BBC Singers) and Griselda Sherlaw-Johnson (choral promotion manager with Oxford University Press).

Six shortlisted carols will be performed live on Radio 3’s Breakfast programme in the lead up to Christmas by the BBC Singers, directed by David Hill.

The winning carol, which will be decided by public vote, will be announced live on Breakfast on 22 December, and played throughout Christmas day on Radio 3.

The deadline for submissions is 1 November.

Sir Christemas

Nowell, Nowell, Nowell, Nowell.
Who is there that singeth so,
Nowell, Nowell, Nowell?

I am here, Sir Christemas.
Welcome, my lord Sir Christemas!
Welcome to us all, both more and less!
Come near, Nowell.

Dieu vous garde, beaux sieurs, tidings I you bring:
A maid hath borne a child full young,
The which causeth you for to sing:

Christ is now born of a pure maid;
In an ox-stall he is laid,
Wherefore sing we all at a brayde:

Buvez bien par toute la compagnie,
Make good cheer and be right merry,
And sing with us now joyfully: Nowell

 Black Sheep
Summary:Chamber Call
Deadline: 01 October 2017
Date Posted: 06 September 2017
Details: Black Sheep is holding TWO new Calls for Submissions. We are looking for works for Bb Clarinet, Bass Clarinet, and French Horn to fit our current core instrumentation. Check below for details.

Below are the details for Call #1, Completed Works.

1. We are accepting completed works for Bb Clarinet, Bass Clarinet (with low C extension), and French Horn. Works must be written for all three (3) instruments, no doubling, and no additional instruments may be added. The piece may have already been performed/recorded/premiered. There are no limits of duration. Works with electronic elements of any kind cannot be accepted.

2. Please email us the following at
- A PDF of the score.
- A recording is optional, but suggested. This can be
either MIDI or a live performance.

3. The entry fee is $5.50 USD. Payment is accepted via PayPal at

4. Please fill out the information sheet in the link below:

5. Submissions are due on ​October 1st 2017, 11:59PM EST.

We withhold the right to select any number of submissions, including selecting none. Results will be announced on November 15th 2017. Works selected will receive $25.00 USD and a performance of the work in an upcoming concert, along with a recording.

 The Galician Wind Band Federation and AGADIC announce the 10th Galician Wind Band Composition Contest
Summary:Windband competition
Deadline: 24 September 2017
Date Posted: 06 September 2017
First: The 10th Galician Wind Band Composition Contest is organised by the Galician Wind Band Federation or FGBMP (Federación Galega de Bandas de Música Populares) and is divided into 3 categories.

Second: An Organising Committee will be established as a governing, administrating and coordinating body. Such committee will be filled by FGBMP board members.

Third: The contest is open to composers of any nationality, without an age limit. Each competitor can take part with as many compositions as he or she wishes.

Fourth: Compositions must be original and unpublished. If any work is proven to already have been premiered by a band or awarded in any other contest, any possible prize will be declared null and void.

Fifth: Compositions must be based on Galician themes or refer in their title to any aspect of Galician culture (history, monuments, geography, tradition...), freely chosen by composers.

Sixth: Compositions may be submitted under 3 categories. Instrumentation for each category should be as follows (for exact instrumentation, please see link, bottom):

-3rd category: up to 50 musicians
-2nd category: from 51 to 70 musicians
-1st category: from 71 musicians

Optional instruments are not compulsory, so each composer may freely make use of them or not. However, any time any of these optional instruments performs a solo, another instrument must be chosen as a “substitute” in case the selected instrument is not available. Percussion instruments may be freely chosen by composers, but the score shall not call for more than four performers for the 3rd category, 5 performers for the 2nd category and 7 for the 1st category.
In case divisis are used in any part of the score, the same material must be assigned to any other of the available instruments.

Seventh: The length of the work must be between 8 and 10 minutes for the 3rd and 2nd categories and between 12 and 15 for the 1st. Soloist works will not be accepted.

Eighth: Compositions will be submitted in their printed version, with black ink and clear graphics, and no amendments or scratches. Overall appearance will be taken into account for every score (binding, layout...). The used font must be perfectly clear and legible, as well as any indication of phrasing, dinamics or articulation.
Scores should not be signed or include any kind of indication that may suggest the author's name.

Ninth: All attached texts, such as composer's CV, indications, notes about the work, instrumentation for the score or parts, etc., must be in Galician language and created in Microsoft Word software and with Arial font, 12. Submitted works must have been edited with either Sibelius or Finale software.

Tenth: Works will be submitted in a closed envelope. Inside this envelope, the following materials should be included:
• Three bound copies of the tutti score, under the motto “X Concurso de Composición para Banda de Música” (or 10th Wind Band Composition Contest”) as well as a digital copy in PDF format. Scores should indicate the title of the work and the category in which the score falls (1st, 2nd or 3rd). If the composer deems it necessary, notes or comments about the work can also be attached.
• A closed envelope showing only the name of the Contest. Such envelope will include the following data: Work title, author's name and surname, CV, telephone number, postal address, e-mail and a signed formal statement, attesting that the work has not been awarded in any other contest, or published or premiered either with that title or with another one. This statement will also attest to the compliance with the current rules. The statement is available for download with Registration Form, attached to this rules.

Eleventh: Compositions may either be submitted or sent by certified mail to the Galician Wind Band Federation, with the following address:
Federación Galega de Bandas de Música, Rúa das
Salvadas no 2 A – Parque Vista Alegre; 15.705
– Santiago de Compostela
, Galicia (Spain). Sender

Twelfth: Entries may be submitted from May 24. Deadline is September 24, 2017.

Thirteenth: If works are submitted in person, a receipt will be issued. This document must be used in order to take back non-awarded scores. Works submitted per mail can be recovered with the Acknowledgement of receipt given by the Postal Service, if the words “X Concurso de Composición”, or “10th Composition Contest”, are included.

Fourteenth: Once the deadline is over, every composition will be checked in order to evaluate their compliance with these rules.

Fifteenth: The jury will be formed by a maximum of three renowned and important figures from the musical sphere, plus a secretary, as a non-voting member.
must not be indicated.
A list of awarded works will be published on the FGBMP website. Awarded composers will be duly notified. These composers will be provided with 20 days (from notification date) to submit both the general score and its parts, in PDF format, as well as any other related text (notes, composer’s CV, etc.).
Awarded and finalist works may be chosen as compulsory in the Galician Wind Band Competition and may be premiered in a concert by the FGBMP Symphonic Band. Composers may attend one rehearsal and make all the suggestions they deem necessary for the band and its conductor, within an hour.
Once the works are premiered, their general scores will be uploaded to the FGBMP website, thus distributing them among wind bands.

Sixteenth: Both the finalists selection process and all decisions made by the jury will be final and will not be subject of appeals. One or several prizes may be declared void. This situation will be explained in the Acts if the jury considers that the quality of the works does not reach the level or the musical standards needed for this contest.

Seventeenth: The following prizes will be awarded:
For 3rd and 2nd categories, the prize will be worth €1,500, plus a diploma attesting to the award and the appointment of the selected work as compulsory in the Galician Wind Band Competition. A finalist work may be granted with a prize worth €500 and the corresponding diploma for each category.
For the 1st category, the prize will be worth €2,000, plus a diploma attesting to the award and the appointment of the selected work as compulsory in the Galician Wind Band Competition. A finalist work may be also granted with a prize worth €800 and the corresponding diploma.
The above mentioned prizes will be subject to all applicable tax deductions and legal dispositions
Selected works, both awarded and finalists, shall be submitted for their publication, in compliance with these rules. The Organising Committee may decide not to publish one work, if it does not meet the requirements specified in regulation number 8.

Eighteenth: Awarded composers will own every legal intellectual property right in compliance with all applicable laws. The following motto must however be added to any program notes, published editions, audios and radiophonic or television broadcast: “Awarded with the first [or finalist] prize in the 10th Galician Wind Band Composition Contest.”

Nineteenth: Awarded composers will transfer their right to public communication to the FGBMP, so the Federation may distribute it among its members.

Twentieth: Participation on this contest means knowledge and acceptance of these regulations by all participants. These rules will not be challenged once a participant has submitted his or her work. The Organising Committee shall be empowered to clear up any doubts and decide any necessary measures in order to facilitate the good progress of the contest at any possible event.


 National Association of Composers
Summary:Young Composers’ Competition
Deadline: 15 December 2017
Date Posted: 06 September 2017
Details: National Association of Composers / USA
39th Annual Young Composers’ Competition
Deadline: December 15, 2017
All entrants must be NACUSA members. Music by non-members will not be considered. Previous First Prize winners will not be eligible.
All previous winners are listed on the NACUSA website address above.
1. The competition is open to all NACUSA members who are American citizens or residents, who have reached their 18th birthday but have not yet reached their 32nd birthday by the submission deadline.
2. Compositions submitted should not exceed 10 – 12 minutes in length.
3. This year composers can submit works in the following categories: A. String quartet, B. Solo instrument (piano, violin, viola, cello, flute, clarinet, alto saxophone) C. 1-3 instruments with optional electronics/playback. If percussion is used, it should involve only one performer. No harp or celesta is permitted. Different categories will fluctuate over the course of future NACUSA competitions.
4. Compositions submitted must not be published and must not have won any other competitions. Each composer may submit up to two works.
5. Recordings (mp3 format) of the entire composition are highly recommended, but not mandatory.
6. Compositions will be judged, in part, on legibility and clearness of music score.
7. All scores must be submitted anonymously under clear pseudonym in PDF format, using NACUSA website (see the guideline under Composition Contest). All mp3 files must also be submitted anonymously, using the same pseudonym. Scores that do not adhere to the Contest rules will be disqualified.
8. The winners will be announced by February 1, 2018.
9. All prizes come with a possible performance on a NACUSA National concert and during the Contemporary Music Festival Musica Moderna in Lodz, Poland.
First Prize is $500, Second Prize is $400, Third Prize is $300.
10. Questions regarding the Contest can be sent to Dr. Wieslaw Rentowski, NACUSA 2017 Young Composers’ Competition Coordinator (NACUSA Vice President) at

 Call for scores: Piano Project 2018
Summary:Piano Competition
Deadline: 24 November 2017
Date Posted: 06 September 2017
Details: Deadline for submissions: Friday 24th November 2017

Back by popular demand, and with support from EPTA UK, Colchester based pianist Dylan Christopher is looking for new and exciting contemporary music for piano students to perform and aid them in their learning.

Pieces composed for the project that meet the composition brief will be performed in a collaborative concert hosted by EPTA UK in June 2018 by students of EPTA UK Teachers. Recordings of the music will also be made available online after the event. The selected pieces will be used as teaching and performance resources for aspirant musicians wanting to learn contemporary piano music, written by living composers.

Works must be written for aspirant pianists (ABRSM grades 1-5), solo or duet (one piano four hands), playable on an ordinary domestic piano with no modifications, not exceeding 5 minutes or 120 bars in length.

This call is open to composers working, living or studying in the UK; we need to limit eligibility to avoid being swamped by submissions, since thousands of composers write easy piano music!

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).

The full composition brief is available here. Composers are advised to read this and follow the guidelines carefully.

Works should be submitted as PDF attachments by e-mail, accompanied by the application form below, programme note, biog and appraisal. See the composition brief for full submission details.

Pay for entry (1 score – £3)

Pay for entry (2 scores – £5)

Pay for entry (3 scores – £7)

Click here for the downloadable application form

Recordings from previous Piano Projects are available for 2014 and 2015.

Summary:Audio Visual Competition
Deadline: 10 October 2017
Date Posted: 06 September 2017

Visual music describes a varied form of creative work with sound and image.
It is used in the field of art to describe the intimate relationship between music and the moving image, where different creative forms of electronic arts are combined.
In order to support the artistic creation and visual composers of any nationality,
every creator can participate with only one work on the following basis:

1.- Submit a video work on the theme of visual music.
2.- The techniques are free.


Participants must submit:
1. Photo scanner of DNI card or Passport.
2. Biography with telephone and email contact.
3. Document of the work (maximum half of a page).
4. Video with the following characteristics.
a) It must be an original work.
b) Duration of 5 to 10 minutes.

Video package [must send 1 video + 1 audio 5.1]:
a) Video Format: MPEG2/MOV/MP4, 30 fps, aspect Ratio 1:1, resolution 2048 x 2048 px.
b) Audio Format: WAV 5.1, 24 Bits - 48000Hz


October 10th 2017, 23:59hr.
Send the works via WeTransfer or Dropbox,

The evaluation and selection will be only for the dissemination and show of works.
1. The selected artists will be informed via email.
2. The composers of the selected works must authorize the use of his work.
3. The exhibition will be held on 04/11/2017.
4. For any queries please email us on:

Summary:Chamber Call
Deadline: 01 April 2018
Date Posted: 30 August 2017
Details: Meitar Ensemble announces the 3nd Matan Givol International Composers Competition.

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


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


There are no age limit or nationality restrictions for composers.
-Instruments: The compositions submitted for the competition must use any combination of the following instrumentation, with a minimum of five performers:

flute (doubling on picc and alto flute), clarinet (doubling on bass clarinet), violin, viola, cello, piano, percussion: vibraphone, 4 octave marimba, glockenspiel (any other requirements for percussion instruments should be discussed in advance).

-Usage of prepared pianos should be discussed with the ensemble.

-No usage of additional instruments (instruments which are not on the list, live electronics, etc.) is allowed.

-Scores submissions via email only. Scores will not be accepted if they do not meet the conditions for entry.

-The works duration must be between 8 to 15 minutes.

-Pieces that have won awards in other competitions will not be accepted, never the less, pieces subjected to the competition are not obliged to be new compositions.
Deadline for entries: The scores, the registration application and the enclosed documents must be sent no later than April 1st 2018 (23:59 Jerusalem time) to the following email address:


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

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

-An artistic and academic curriculum

A copy of the Entry Fee payment document

-The jury will consist of Meitar Ensemble members and the ensemble’s composer in residence, Mr. Philippe Leroux and the ensemble’s conductor in residence, Mr. Pierre-Andre Valade

-The jury’s decision is final and cannot be legally challenged. Furthermore, the jury reserves the right to award no prize.

-The entry fees are non-refundable.

-The results of the Matan Givol International Composers Competition 2018 will be published on the web site and the social networks no later than May 15th 2018.


 2017 Dizzy Gillespie Centennial Composition Competition
Summary:Jazz Competition
Deadline: 14 October 2017
Date Posted: 30 August 2017
Details: With a mission to inspire, enrich and connect new and diverse audiences, the South Carolina Jazz Festival and are calling for your original jazz composition to celebrate the centennial year of Dizzy Gillespie’s birth! The winner will receive a $400 cash prize and have their work performed live at the Grand Finale Concert on Saturday, Oct 21! By promoting the movement that jazz music is alive, inspirational, and relevant to every community, we are doing our part to connect Cheraw and the rest of South Carolina with the evolution of this tradition.

Composers of any age, gender, nationality are eligible.

• Composition should be presented as a jazz lead sheet; i.e. melody and chords.
• Instrumentation should not exceed a classic jazz quintet of one trumpet, one saxophone (alto or tenor), piano, bass and drums.
• Preference will be given to those scores with accompanying audio or video recording. Provide links in your comments.
• Score can include re-imaginings of existing works for which you have been granted permission to arrange/re-imagine; HOWEVER, preference will be given to all original works.
• Please specify if this will be a world premiere, a US premiere, or an east coast premiere in your comments.
• The selected composition will be announced by October 15, 2017 and performed October 21, 2017

The SC Jazz Festival will provide the winner with $400 and the work will be performed in front of a live audience at the Grand Final Concert.

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

The following prizes will be awarded:

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

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

The jury is made up of the following members:

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

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


 Etymos Ensemble Call For Scores
Summary:Competition for 1–5 performers
Deadline: 13 October 2017
Date Posted: 30 August 2017
Details: ETYMOS ENSEMBLE, in collaboration with CLUSTER – Associazione di Compositori, Lucca – Italy, and Sconfinarte Edizioni, is pleased to announce the Call for scores 2017 for solo/chamber works to be included in the upcoming concerts for the Winter Season.
We are seeking composers to submit pieces of any aesthetic direction, for any combination of 1 – 5 performers. Instrumentation other than what is listed below will not be considered:

• Flute (Piccolo, Alto Flute) – one performer
• Oboe (English Horn) – one performer
• Clarinet in Bb (Bass Clarinet in Bb) – one performer
• Vibraphone – one performer
• Live electronics (Softwares: Max/Msp, Pure Data, Logic Pro 9, X, Ableton Live 9 – Hardwares: MacBook pro 13″, Motu 828 mk3 firewire, 2 Mics Rode NT5, 2 Mics SM58, Beringher BCF 2000 – 4 Loudspeakers, 1 analog mixer) – one performer

• € 500,00 (fivehundred/00 Euros) cash prize and recording of the live concert.
• The winner piece will by published by Edizioni Sconfinarte (if is not published by other editions yet)
• The performances of the winning composer will be in November 2017 at the following music seasons:
-“CLUSTER Music Festival 2017”, Lucca, Italy
-“Incontri Musicali a Teatro 2017”, Borgo a Mozzano, Italy

1 Applicants may be of any nationality, age, gender, religion and race
2 Only one composition may be submitted per composer
3 Piece may have already won prizes, performed or recorded
4 Maximum length is 10 minutes
5 Submission deadline is October 13th, 2017 (23:59 Italian time)
6 By submitting to this competition the composer is in agreement with all these rules
7 Submission Fee € 25 to

Email to the following material:
• PDF scores (which should clearly show the composers”s name)
• PDF short biography (English or Italian, one page maximum) with contact details
• Live recording (MP3) of the piece is requested but not compulsory (MIDI is not accepted). Please upload it to a streaming site such as Soundcloud, Dropbox, Youtube, Vimeo. You will need to include the link in the body of the email.
• PDF of Fee Payment Receipt

• Luigi Esposito, President of the Jury (Composer, Visual Artist, Sound designer, Performer/Pianist and Writer)
• Antonio Agostini (Composer and Teacher)
• Girolamo Deraco (Composer, Artistic Director of the Etymos Ensemble and CLUSTER)
• Etymos Ensemble (Francesco Gatti, Flutist – Nicola Bimbi, Oboist – Tony Capula, Clarinetist Diego Desole, Percussionist – Alberto Gatti, Sound Designer)

The winner will be announced by email on October 16th, 2017.

Composers must be able to supply parts immediately upon selection.
For any question:

The Etymos Ensemble is a modular group of talented musicians with an accomplished professional high-level career. Its Artistic Director and Founder Girolamo Deraco has created the ensemble to perform contemporary music exclusively. The Etymos Ensemble has a well established and prestigious resume with almost ten years of activity since its foundation. Many composers have written music for them, such as Antonio Agostini, Antonio Bellandi, Yohanan Chendler, Luigi Esposito, Alaister Greig, Nick Nelson, Vito Palumbo, and many others.

The Etymos Ensemble collaborates with prestigious theatres and cultural institutions in Italy and abroad and participates in distinguished international contemporary music festivals in Europe and USA (“Bartok plusz Miskolci Operafesztivál”, Miskolc, Hungary – “Multikulturelle Sommerkonsert”, Berlin, Germany – “Victoria International Arts Festival”, Gozo, Malta – “SoundScape Festival”, Maccagno, Italy – USF New Music Festival, Tampa, Florida, USA – “Festival Rebus”, Teatro dal Verme, Milan, Italy, and many others).
The Etymos Ensemble is winner at the Concorso Internazionale Ama Calabria 2014 in the section contemporary music, and it is now group in residence at CLUSTER – Associazione di Compositori, Lucca – Italy.


 2018 Chou’s Annual Composition Commission Award
Summary:Chamber Competition
Deadline: 30 September 2017
Date Posted: 30 August 2017
Details: Soochow University (Suzhou, China) invites professional composers (students currently enrolled in a composition course of study at the Bachelor’s or Master’s level are not eligible) of any nationality to submit 1-2 work samples to be considered for the Chou’s Annual Composition Commission Award. The winner will receive a monetary prize of 20,000RMB (before tax), international airfare to attend the work’s rehearsals and première at Soochow University, and lodging in Suzhou while in residence in the fall of 2018.

The commissioned work will be a chamber piece between 7-10 minutes for 3-8 players drawing from the following instruments:

(1) flute (picc., alto, bass)

(1) oboe (English horn)

(1) clarinet in Bb/A (bass clarinet)

(1) bassoon

(1) saxophone (soprano, alto, tenor, baritone)

(1) horn

(1) tenor trombone

(1) percussion (orchestral and mallet)

(1) piano

(1) violin

(1) viola

(1) cello

(1) double bass

The work may also include traditional Chinese instruments and electronics, depending on availability.

Faculty Artists of Soochow University School of Music will give the première performance of the work which will be recorded. The winner will also be invited to give a guest lecture on their music while in residence.

Those who wish to be considered for this commission award should send the following materials to by 11:59pm China Standard Time on September 30th, 2017:

1. Up to two scores in PDF format demonstrating the individual’s aesthetic in chamber music composition for at least three performers. Submitted works do not need to conform to the listed instrumentation given above for the commission. Please use LASTNAME_TITLE.pdf format.

2. Accompanying recordings in mp3 format. Files should be no larger than 20MB, please use LASTNAME_TITLE.mp3 format)

3. Curriculum Vitae including list of works and contact information

If all materials exceed 20MB, please share a single file to via Dropbox. All other file sharing services will not be accepted due to their incompatibility with Chinese online resources.

Hard copies of recordings or scores will not be accepted.

The winning composer will be notified via email before October 26, 2017.

Summary:Call for Winter Holiday Songs
Deadline: 01 October 2017
Date Posted: 30 August 2017
Details: Introducing Contemporary Columbus!
We are an arts collective dedicated to fostering a thriving and diverse music and art community in Columbus, OH. As a way of saying “hello” and showing the city what we’re all about, we’re thrilled to announce our first call for works:

A Call for
new Winter Holiday Songs!

Any religious or secular holiday song (Christmas, Hanukkah, Winter, etc.) A brand new work or a setting of a classic song

All scores must be received by October 1st, 2017
MIDI or demo recordings are accepted but not required

For any combination of:
Viola, Mezzo-Soprano, Baritone, and Piano

2 - 4 minutes in length
Composer must have permission to use text and present proof with submission. May also be public domain.

Performance of piece at Wild Goose Creative on December 1 7, 2017
Professional recording of live performance
Composers will be recognized during the concert
Winners will be announced on or before October 15th, 2017 on Contemporary Colum- bus’s Facebook, Twitter, and website.

Submission Information:
Entrants may submit scores, recordings, and information by email Email to:
Include name, address, and email address with submission
Score must not be larger than 11” X 14”
Selected scores will be copied for the purposes of performance and will be destroyed immediately after.

 Ball State 48th annual Festival of New Music March 15–17, 2018
Summary:Call with four categories
Deadline: 16 October 2017
Date Posted: 30 August 2017
Details: Concerts Thursday – Saturday
Location: Sursa Hall, Ball State University, Muncie, Indiana

Composers are invited to submit up to two compositions for possible inclusion on the festival program. Chamber and electronic compositions must be under ten minutes in length. Preference will be given to more recent works and to composers from the Midwest and Great Lakes region. Submitted works can fit into any of these four categories:

1. Compositions under five minutes for (a) Ball State Chamber Choir, an ensemble of 32 graduate and advanced undergraduate singers; (b) Ball State Concert Choir, an ensemble of 50–60 singers, mostly undergraduate music majors.
2. Compositions for fixed audio or audio/video media, and/or live computer/electronics; installations. Works can be diffused over a sound system of up to 8 channels with a subwoofer.
3. Instrumental/vocal or mixed-media (electronics with instruments/vocal) compositions for which composers can provide their own performers.
4. Instrumental/vocal or mixed-media compositions for any instrument or combination of instruments. Compositions that draw from the following instrumentation will have the best chance of being programmed: fl, cl, ob, bsn, hn, tpt, tbn, sax, vln, vla, classical gtr, harp, pno, perc, and soprano or mezzo-soprano voices.


Submit materials to Include:
• attached pdf file of the score (please no other file types) or a link to a site where we can download the same
• (optional for instrumental/vocal pieces) attached mp3 or m4a file of a recording or a link to a site where we can stream/download the same
• One completed information form (BSU NMF info.pdf) for each composition, which is available at the link below.

Composers included in the festival program are encouraged, but not required, to attend the festival.
For information, contact Eleanor Trawick,
Click below for a pdf of the information sheet to be returned with your application and for a pdf of the call for scores


Summary:Choir Competition
Deadline: 15 October 2017
Date Posted: 23 August 2017
Details: Competition Details
There is no entry fee.

The 2017 contest deadline is October 15, 2017.

Submission Criteria
1. Original composition for a cappella, 4-6 part mixed choir, occasional divisi is acceptable;
2. Three to six minutes long;
3. Not previously performed in Massachusetts;
4. Anonymous submission:
1. Remove all names and identifying marks;
2. Provide a document, PDF or Word, containing your name, address, email and phone number;
5. Submit a legible score. In addition, recordings or synthesized versions are strongly encouraged but are not required;
6. A maximum of two different scores may be submitted by each composer;
7. If the text is not public domain, include written permission to use it;
8. You must submit electronically, to the e-mail below, with a PDF attachment. Sibelius, Finale and other formats will not be accepted. Attachments larger than 5MB are blocked, so use a Dropbox, such as SendStuffNow, for larger audio files. Please make sure files can be accessed through October 31, 2017.

The winning composition will be performed by the Cambridge Chamber Singers at two concerts in the Boston area. CCS encourages the composer’s attendance.

The Cambridge Chamber Singers reserves the right to not award a prize.

There are no restrictions according to age or residency. The text may be in any language. A composer may submit no more than two pieces.

For further information, email


 The David P ‘60 and Susan W Wohlhueter Jazz Composition Contest at Ithaca College
Summary:Jazz ensemble competition
Deadline: 01 October 2017
Date Posted: 23 August 2017
Details: About the contest
The contest has been created to encourage composers to write for the jazz ensemble and to give Ithaca College students the experience of evaluating and performing new music. Students will participate in the judging of the contest. The winner of the contest will receive a prize of $1,000 plus a concert recording of their piece with the Ithaca College Jazz Ensemble. In 2017 our guest artist at the culminating concert on December 8th, 2017 will be world-renowned drummer Matt Wilson, who will play the winning piece with the Jazz Ensemble.

In addition to reviewing submissions' musical quality, we will be assessing several other factors:

• Compositions should be steeped in the traditions of jazz music.
• Compositions should be musically accessible to both the audience and the performers.
• The difficulty level of the compositions should be such that they are playable by high school honor jazz bands, college bands, and professionals alike.
• Compositions may have drum solos, but they are not required to. Mr. Wilson's style and role in the piece should be well-conceived and clear. Featuring Mr. Wilson in creative ways other than in solos (or in addition to solos) is encouraged.
• Compositions must be clearly and professionally notated. Scores should be bound properly and parts bound/taped with well-considered page turns.
Winning pieces, composers and guest artists from previous years are listed at:

Submission deadline
All submissions must be received by October 1, 2017 to be eligible for the contest. Pieces received after that date will be ineligible.


 Sioux City Symphony Call for Scores
Summary:Orchestral Competition
Deadline: 02 October 2017
Date Posted: 23 August 2017
Details: The Sioux City Symphony and Music Director, Ryan Haskins are pleased to issue a "Call for Scores" for the SCSO’s 2018 Composer of the Year competition.

The Sioux City Symphony Orchestra is committed to the education, development, and promotion of American composers. The SCSO Composer of the Year competition is designed to annually highlight one, highly talented composer who is currently in the early stage of their professional career. In addition to a $1,000 (one-thousand US dollars) monetary prize, the SCSO’s Composer of the Year will receive a premiere performance by the Sioux City Symphony, press/media coverage, scheduled lectures at selected local colleges and universities, and involvement in a variety of other community related outreach programs.


1. Applicants must be US citizens in the early stages of their professional career.

2. Submitted works may not have received a performance or a reading by a professional orchestra. (school/conservatory performances do not count as professional readings/performances)

3. Works should be 5 to 15 minutes in length.

4. Not eligible are concertos, choral works, and works for winds/brass only. (works for string orchestra will be accepted)

5. Instrumentation must not exceed:

3fl [1 dbl pic], 3 ob [1dbl EH], 3 cl [1 dbl bass cl], 3 bsn [1 dbl contra bsn], 4 hn, 3 tp, 2 tbn, 1 bass tbn, tuba, timp +3, pf/cel, hp, str

SUBMIT via email to: :

1. Scores must be submitted in PDF format.

2. One (1) computer generated score of an orchestral work written within the last 5 years.

3. A recording is required (MIDI is acceptable)

4. One (1) current curriculum vitae that includes current address, telephone number, email address, and proof of US citizenship

5. A short bio of the composer in PDF format (150 words max)

6. A brief description of the work and notes detailing performance history if any, including all dates and names of performing ensembles.

7. Entry Fee of $25.00 (twenty-five) US dollars payable via link below

After the selection panel reviews all of the entries, the Composer of the Year will then be chosen and their work will be performed on Saturday, February 10, 2018 by the Sioux City Symphony Orchestra. The Composer of the Year will travel to Sioux City and be a part of the rehearsal process for the premiere of their work in addition to other scheduled community outreach activities.

The selection panel will include Music Director, Ryan Haskins; composer, Clint Needham; and other members of the artistic team.

Finalists will be interviewed by the committee and are expected to succinctly speak about their work, their compositional process, and offer any additional concepts that may help an audience engage with their work.

Applicants will be notified of the results no later than Monday, November 3, 2017.

Upon selection, the Composer of the Year must provide the Sioux City Symphony Orchestra with a complete set of parts (at no additional cost to the SCSO) that conform to the American Composers Forum Music Copying Guidelines.

The Sioux City Symphony will provide the Composer of the Year with one (1) round trip flight to Sioux City, IA.

The Sioux City Symphony will provide the Composer of the Year with hotel accommodations and local transportation during their residency in Sioux City.

The Sioux City Symphony will award a monetary prize of $1,000 (one-thousand) US dollars to the named Composer of the Year (recipient is responsible for all US taxes associated with prize money)

 LONDON EAR festival of contemporary music
Summary:Competition with 2 categories
Deadline: 13 January 2018
Date Posted: 23 August 2017
Details: Composers Competition, 2018

Submissions are invited in two categories:

Pieces for ensemble (see below)
Pieces for a solo instrument: flute or viola or piano

The performers will be:
Ensemble ö! (Switzerland)
Uroboros Ensemble (UK)
Neo String Quartet (Poland)

Roberto Fabriciani: flute / alto flute
Tomoko Akasaka: viola
Jonathan Powell: piano

Subject to the judges decision:

Each of the above six ensembles or soloists will perform one piece at
London Ear 2018: March 21-25

Instrumentation details:

Ensemble pieces may be for any three or more of the instruments in one of the mixed ensembles:

Ensemble ö!: flute/pioccolo/alto flute; clarinet (Bb)/bass clarinet; violin; viola, ‘cello; piano.

Uroboros Ensemble: flute/piccolo/alto flute, clarinet (Bb)/bass clarinet; oboe/cor anglais; harp; violin; ‘cello; piano; percussion (1 player): marimba and any small, common, hand-held percussion instruments (e.g. triangle, maracas, claves etc – if in doubt email for clarification).

Neo Quartet: only pieces for the full quartet (vn1, vn2, va, vc) may be submitted.

Works for piano (solo or ensemble) should not be for ‘prepared’ piano. However, pieces requiring touching the strings, or using a plectrum, e-bow, etc are acceptable.

Submitted works must not involve electronics.

The competition is in two stages:

Stage 1: The judges will select six pieces: one piece for each of the above ensembles or performers, to be included in their concerts at London Ear 2018. (See also condition 11 below)

Stage 2: After the final concert on March 25th the jury will decide upon and announce the order of the winning works.

The performances will be recorded, as the 1st prize winning work may be released as a download on the Sargasso label (subject to agreement by all parties: composer, performers, and Sargasso).

The names of the members of the jury will be announced in the autumn of 2017


 New York New Fusion Music Festival
Summary:Festival Call for Works
Deadline: 31 October 2017
Date Posted: 23 August 2017
Details: The New York New Fusion Music Festival, based in New York City, is pleased to announce a call for scores of possible composers to be part of a special one-night concert performance in the highly-esteemed Carnegie Hall, New York on December 18, 2017. Hua Mei Orchestra will be collaborating with Unheard-Of//Ensemble and F-Plus Music. The purpose of this concert is to promote and celebrate a fusion of Western and Eastern music, sharing a single stage in front of both American and Asian audiences.

Our players’ instrumentation will include the following: Flute, Clarinet (2), 2 Violins (multiple), 2 Cellos (multiple), 2 percussionists, 1 Chinese San Xian (a long lute puck instrument); Chinese Sheng (mouth organ), and a piano.

Scores may utilize as few as two instruments or as many as the entire ensemble.

Selected piece(s) will be announced through the New York Hua Mei Performing Arts website and the official Facebook page. The winning composer(s) will have his/her work be performed in front of a live New York City audience for a special one-night concert.

How to Apply: (please read carefully!)

1. Submit an online payment of $25.00 USD via PayPal to The link to the PayPal account is: . After completing the payment, the applicant will receive a payment receipt to confirm the transaction.
**Applicants will only be considered when they've paid the application fee.**
**Applicants can send a maximum of 2 scores ($25.00 USD per score).**

2. Send a PDF file of composer's scores to Audio file is optional but highly recommended. If the file is too big for attachment, send the link on the email. Please make sure that all files are downloadable and/or the link can be streamed.
**Scores must be under 10 minutes.**

3. Applying composers must also send a short biography in PDF format about themselves and a description of their works. Email this with the files and/or link mentioned above to

4. Any questions or concerns, please contact us on

***Application Fee: $25.00 USD (PayPal only)
***Deadline: October 31, 2017 (via email)

 Herne Hill Music Festival
Summary:Compose a School Musical
Deadline: 13 October 2017
Date Posted: 23 August 2017
Details: The Herne Hill Music Festival is looking for a composer interested in writing a musical suitable for performance by primary school pupils (Year 6 probably) in the October 2018 Festival. The musical would need to last for about an hour, and to be based on a story which would engage pupils of that age. In 2017 we will be performing The Frankenstein Teacher, by Simon Speare from the story by Tony Bradman. See our web site for details:

We want to perform a musical for 2018 along similar lines, involving a substantial number of pupils as singers and instrumentalists, supplemented by professionals in key roles.

The project is subject to reaching agreement of a local primary school, and to obtaining grant funding. We expect funding to be confirmed or not by Easter 2018, with the musical available for rehearsals from the start of September 2018.

Composers interested should email their CV, any suggests for a story for the musical, and a statement of the reasons for their interest, to:

 FLIGHT OF PEGASUS 2017-2018 - 10th edition
Summary:Themed competition
Deadline: 25 November 2017
Date Posted: 23 August 2017

The National Centre for Rare Diseases – Istituto Superiore di Sanità (National Institute of Health) (Rome, Italy) is pleased to announce the launch of the 10th (X) Edition of the national Musical- literary- artistic competition Flight of Pegasus dedicated to rare diseases.

The key topic of this X Edition is the Dream. All artworks must be inspired to this subject.
Competition sections include: narrative, poetry, drawing, painting, sculpture, photography, digital art, music composition and musical interpretation.
Narrative and poetry artworks must be written in Italian.
The intercultural networking of the event, made by finalists, critics, musicians, curators, scientists, public and private institutions and citizens make Flight of Pegasus an exciting occasion for artists to promote their art through many channels.
Notification of winning artworks will be announced during the award ceremony within the celebrations of the Rare Disease Day that will be held in Rome at the end of February. In that occasion, all admitted works will be exhibited. The winning music composition will be played by an Italian professional string quartet.
The place of the celebration will be published on the official website of the competition:
Jury's final decision will also lead to a selection of artists that will have the opportunity to exhibit the submitted works in an Art Gallery in Rome, in May 2018.
All the submitted artworks will be collected in a special volume and published online on the website
The winning works and the works of the selected artists will be published on a Catalogue and on an Anthology, which will be available later on.

Who is eligible to participate?
The call is open to artists, professionals and not only, of any age and nationality. Each artist may participate with a maximum of one work. All works must be original.

How to submit?
To register please complete the registration form on the official website

Dates and deadlines
• July 14, 2017: Beginning of subscriptions
• November 25, 2017: Application deadline
• End of January 2018: Notification of admitted artworks
• End of February 2018: Awards ceremony and exhibition of all admitted artworks
• May 2018: Exhibition of selected artworks Entry fee: none

Complete rules


 BEAMS Marathon Weekend Festival!
Summary:Electroacoustic Call
Deadline: 31 October 2017
Date Posted: 23 August 2017
Details: The Brandeis University Music Department, in conjunction with New Music Brandeis, are pleased to announce the 2017 BEAMS (Brandeis Electro Acoustic Music Studio) Marathon Weekend Festival. This festival will bring together composers, performers, and artists working with electronics and/or video from all corners of the New England area for a weekend full of concerts, workshops, demonstrations, and panels.

We are also hosting a call for scores for students in the New England area! Deadline is October 31st. Submit your pieces at the link below!

We are very pleased to announce our guest composers and ensembles, who will be presenting and performing at this year’s festival:

Pamela Z - Pamela Z is a composer/performer and media artist who works primarily with voice, live electronic processing, sampled sound, and video. A pioneer of live digital looping techniques, she processes her voice in real time to create dense, complex sonic layers. Her solo works combine experimental extended vocal techniques, operatic bel canto, found objects, text, and sampled concrète sounds. She uses MAX MSP and Isadora software on a MacBook Pro along with custom MIDI controllers that allow her to manipulate sound and image with physical gestures. Her performances range in scale from small concerts in galleries to large-scale multi-media works in theaters and concert halls. In addition to her performance work, she has a growing body of inter-media gallery works including multi-channel sound and video installations.

Elainie Lillios - Acclaimed as one of the “contemporary masters of the medium” by MIT Press’s Computer Music Journal, electroacoustic composer Elainie Lillios creates works that reflect her fascination with listening, sound, space, time, immersion and anecdote. Her compositions include stereo, multi channel, and Ambisonic fixed media works, instrument(s) with live interactive electronics, collaborative experimental audio/visual animations, and installations.

Christopher Biggs - Christopher is a composer and multimedia artist residing in Kalamazoo, MI, where he is Assistant Professor of Music Composition and Technology at Western Michigan University. Biggs’ recent projects focus on integrating live instrumental performance with interactive audiovisual media. In addition to collaborating with artists in other disciplines on projects, he treats all of his works as collaborations between himself and the initial performing artist by working with the performers during the creative process and considering their specific skills and preferences.

Yarn/Wire - Yarn/Wire is a quartet of two percussionists and two pianists. This instrumental combination allows the ensemble flexibility to slip effortlessly between classics of the repertoire and modern works that continue to forge new boundaries. Founded in 2005 while at Stony Brook University, Yarn/Wire is admired for the energy and precision they bring to performances of today's most adventurous music. The results of their collaborative initiatives with genre-bending artists such as Two-Headed Calf, Pete Swanson, and Tristan Perich point towards the emergence of a new and lasting repertoire that is "spare and strange and very, very new." (Time Out NY)

SPLICE Ensemble - The SPLICE Ensemble is a trumpet, piano, and percussion trio focussed on cultivating a canon of the most important works composed for instruments and electronics. Through seminars, lectures, master classes, concerts, and commissions, the SPLICE Ensemble works with composers and performers on performance practice techniques for collaboration and integrating electronics into a traditional performance space. The resident ensemble of both the SPLICE Summer Institute and the SPLICE Festival, the SPLICE Ensemble has been a featured ensemble at M Woods in Beijing, SEAMUS, the Electroacoustic Barndance, SCI National, Electronic Music Midwest. They have recorded on both the SEAMUS and Parma Labels.

Transient Canvas - Praised by the Boston Globe as "superb", Amy Advocat and Matt Sharrock have been blazing their own trail as the bass clarinet/marimba duo Transient Canvas since 2011. In that time they have premiered over 75 works, essentially creating an entirely new repertoire for their unique instrumentation. Fearless in their programming and hungry for new collaborations TC performs anywhere from microbreweries to concert halls and actively seeks out new composers who will stretch their instrumentation to its limits.

 2018-2019 Association of Concert Bands Young Composers Composition Contest
Summary:Concert Band Competition
Deadline: 15 June 2018
Date Posted: 23 August 2017
Details: This composition contest is intended for young composers who are writing music for concert band. There are over a thousand community bands in the United States and more across the globe who are performing concert band music. These ensembles play music from across the spectrum - show tunes, patriotic selections, marches, transcriptions, new works for band. These bands are looking for new music that fits a more traditional style of concert band literature that audiences will enjoy. Composers should keep this audience in mind for their submission to this contest.

• Composers under 30 years of age on submission deadline date.
• Composers must not be contractually obligated as an employee or under contract to any publisher or publishers.
ineligible: Current Members of the ACB Board and their family members

• A 3 - 5 minute duration piece of original composition for concert band at a grade level of roughly 4.
• Submissions must not have been previously published.
• Submissions must have been written within the past 18 months.
• Submissions must not have been previously performed in a public venue.
• Only one submission per composer will be accepted.
• Suggested Instrumentation:
o C Piccolo; 1st & 2nd Flute; Oboe; Bassoon;1st, 2nd, & 3rd Clarinet; Bass Clarinet; 1st & 2nd Alto Saxophone; Tenor Saxophone; Baritone Saxophone; 1st, 2nd, & 3rd Trumpet; 1st, 2nd, 3rd & 4th Horn; 1st, 2nd, & 3rd Trombone; Euphonium (BC/TC); Tuba; Mallet Percussion; Timpani & Percussion (expanded) Optional: Eb Clarinet, 2nd Oboe, 2nd Bassoon, Contrabass Clarinet, Piano
o Special Considerations: Extensive cross-cueing (always on solos for Horn, Bassoon, Oboe, Bass Clarinet); composers are encouraged to use expanded percussion, particularly mallet and accessory instruments. Plan for maximum of five percussionists.

Submit via email to

• Cover Sheet with Composer's name, mailing address, email address, school affiliation (if current student), birth date, names of all files submitted (as a word document or PDF file).
• One PDF of the score labeled with the Title. Other identifying information must be removed.
• An .mp3 recording if available, MIDI files from the composing software are acceptable.
• Program notes. (separate from the score as a word document or PDF file)
• Naming conventions for files: TITLE_Initials_score.pdf TITLE_Initials_recording.mp3 (or .mid) TITLE_Initials_prognote.pdf (or .doc) For lengthy titles, truncate to the first 10 characters.
• If the composition is selected as the winner, a complete set of parts in PDF form is to be provided.
• Application fee of $25 by credit card ("buy now" below) or by check made out to the Association of Concert Bands with a copy of the cover sheet mailed to:

Association of Concert Bands
c/o Sarah McElfresh
905 4th Avenue Extension
Farmville, VA 23901

 RMN Music
Summary:Workshop, Concert & Networking event
Deadline: None
Date Posted: 19 August 2017
Workshop, Concert & Networking event
Central London
Saturday 18th and Saturday 25th November 2017 – 10:00 to 17:00

2 days of networking events and workshops, to meet fellow composers and musicians and discuss about contemporary techniques and innovations.

Through the workshop’s framework participants will have the opportunity to share, discover and discuss some of the most important 20th and 21st century contemporary techniques.

During this intensive workshop & networking event we will take a look at how to expand and integrate the knowledge of tonal music with the main compositional techniques used by twentieth century composers and musicians; we will get ideas on how to investigate and contextualise the 20th-century music scores; we will see at examples on how to deconstruct compositional systems to associate them into new combinations and get a different perspective of the aforesaid procedures.

With the pianist in residence we will see those concepts applied in real situations through examples taken from various scores and open discussions.

This workshop is highly interactive and participants may bring their own works, and share solutions and systems they’ve found while working on past compositions or while studying contemporary scores.

A piano concert will take place at the end of each day and we want to include 6 new works selected through a Call for Scores. Please visit this page to submit your work and get the chance to have your work selected and performed.

The program of the concert (to be announced soon) will include works by: Ligeti, Berio, Lachenmann, Adams, Debussy, Scriabin

Who’s it for?
This workshop is ideal for composers and musicians, as well as for arranger, producers, sound designer, and any other music professional who wants to better understand this essential part of contemporary music making.

Where is it?
Peregrine Piano, Room 3, 137A Grays Inn Rd, London WC1X 8TU. Map and directions will be provided in the full event package after registration

How much does it cost?
£69 for two full days.
£49 for a single day.

For more information, including full syllabus:

 RMN Classical Call for Scores
Summary:Solo Piano Call
Deadline: 18 October 2017
Date Posted: 19 August 2017
Details: RMN Classical is very excited to announce its new Call for Scores.
Through our past editions we discovered more than 200 innovative new works and their talented composers.

This new Call for Scores has been launched in connection with the new Composition Workshop that will take place in London next 18th and 25th November 2017.

A final concert will take place at the end of the workshop and RMN Classical would like to select 6 new pieces for piano solo to include in the programme of the concert.

Some of the pieces already confirmed include works from: Luciano Berio, Arnold Schonberg, Helmut Lachenmann, John Adams, Claude Debussy and Alexander Skryabin*
Discover the programme of the concert

This is a great opportunity if you would like to have your work performed together with some of the masterpiece of our time.

Only scores for piano solo will be accepted.
Works with electronic will be disqualified.
If in doubt please Contact Us

Maximum duration:
5 minutes.

How many works can be submitted:
Applicants may submit more than one work but only one will be selected.

Age and other limits:
There are no limits of nationality and applicants of any age can submit their works.

October 18, 2017 (BST 11.59pm)

Submission fee:
£9 per work submitted


This is a Call for Scores, please send only music scores, any file not required and submitted will be discarded and your application disqualified. We will reserve the right to withdraw your participation and the fee would not be refunded if there is any irregularity. If in doubt please Contact Us

Summary:Songwriting Competition
Deadline: 15 November 2017
Date Posted: 17 August 2017
Details: Are you ready to get your songs heard and reviewed by experienced music-industry pros? Are you looking for opportunities to win prizes, gain recognition and promote your songs with publishers, producers and music media?

The Great American Song Contest™ is uniquely designed to offer these very opportunities — and benefit every songwriter, lyricist and composer who participates.

Why enter the 2017 Great American Song Contest?
Opportunities to win prestigious songwriting awards and $10,000 in Prizes
Opportunities to get your songs heard and evaluated by top music-industry professionals
Opportunities to advance your songwriting, promote your songs and open doors in the music business

Prizes & Benefits
ALL entries receive a thorough review from qualified music-industry professionals
ALL submissions receive a written evaluation from contest judges
ALL entrants receive an entry confirmation & Judging schedule so you can track the evaluation process

 Oxford Harmonic Choir
Summary:Choral/orchestral commission
Deadline: 30 November 2017
Date Posted: 17 August 2017
Details: We are holding a competition to select a composer to write a brand new work for choir and orchestra, for first performance by the choir in 2019. The piece will be 15-20 minutes long with orchestral accompaniment and be based on a text to be selected by the composer from five chosen by the choir.

The competition is open to all UK and foreign nationals resident in the UK and there is no age limit. The prize will be awarded on the basis of entrants’ previous compositions and their vision for the new work.

The closing date for entrants to send previous compositions and their vision for the new work is 30 November 2017. The winner will be announced in February 2018 and then compose the new work during that year.

To download full details including how to enter the competition, click here:

 Hebrides Ensemble Composition Seminar
Summary:Submit Scores for Composition Seminar
Deadline: 30 September 2017
Date Posted: 17 August 2017
Details: Would you like to hear your music performed by one of the UK’s leading chamber ensembles? Would you like to discuss your music with internationally renowned composer Nigel Osborne? Then come and join us in Edinburgh on Tuesday 21 November 2017 for a day of music-making and discussion.

The event will be led by composer Nigel Osborne and Hebrides Ensemble’s Artistic Director William Conway. Scores will be played by Hebrides Ensemble musicians during a day of performance and discussion, open to anyone with an interest in composition.

Hebrides Ensemble supports composers at all stages of their careers, most recently through: workshops for those at school, college and university; training for amateur composers working on their own; commissions and performances for those entering the profession; and commissions, recordings and broadcasts for established composers internationally. If we don’t know you or your music, we can’t support you! So, this is a chance to let us see what you’re doing and for us to get to know your music.

Submissions should be:
• a maximum of 7 minutes long (this could be a section of a larger work)
• written for any combination of the following instruments: Violin, Viola, Cello, Double Bass, Flute, Clarinet, Oboe and Bassoon and Horn. Solo or ensemble works will be considered.
• We don’t mind if your work has been performed before; if its published or unpublished; how old you are; or where you’re from. The only thing we ask is that you have completed your formal education.

Composers of any age and stage will be welcome to attend the seminar, even if you have not submitted a score. The seminar is open to all. For details on how to attend click here.

Submissions must be received by 18:00 on 30 September 2017.
One copy of the score (and a recording if you have one) should be sent to:
Hebrides Ensemble
Call for Scores
77 Montgomery Street

or emailed to

If your piece is selected, we will let you know by Friday 20 October and we will ask that you provide us with a set of parts by 1st November 2017. Please ensure that scores and parts are legible. Composers whose work is selected for performance would be expected to attend the event and we would provide you with a recording of your work.

Summary:Carol competition
Deadline: 13 October 2017
Date Posted: 17 August 2017
Details: The Bach Choir is delighted to announce the first year of the Sir David Willcocks Carol Competition, following on from the competitions held during Sir David’s time as Musical Director of The Bach Choir.

Composers of any age are invited to submit an original carol for adult SATB choir with or without organ accompaniment, which will be rehearsed and performed by The Bach Choir at its ‘Carols at Cadogan’ concert at London’s Cadogan Hall on 22 December 2017 at 7.30pm.

The competition will be judged by David Hill, Musical Director of The Bach Choir, the Choir’s President, John Rutter, and Sir David’s son, Jonathan Willcocks.

The competition will be judged in two categories:
• Composers aged 18 and under
• Composers aged over 18
The deadline for submissions is Friday 13th October and winners will be announced on Friday 3rd November. The winner in each category will receive a small cash prize, kindly donated by the David Willcocks Music Trust, and up to three complimentary tickets to the Cadogan Hall on Friday 22 December to hear their carol performed by The Bach Choir, conducted by David Hill.

For further information please contact Nick Cutts -

Conditions of entry:
• Composers may use their own or others’ words, but precise details of the source of the text must be provided. Text must be out of copyright.
• Carols submitted should have not received a public performance, and the music must be original (i.e. not an arrangement of existing music)
• The Bach Choir shall have all rights in connection with the first public performance of the prize-winning carol (s), but thereafter the composer shall have all rights in respect of the carol.
• The Bach Choir shall have all rights in connection with the first recording of the prize-winning carol (s), but thereafter the composer shall have all rights in respect of the carol. The exclusivity of this period shall be one year.
• Entries will be judged by David Hill, John Rutter, Jonathan Willcocks and such other person (s) as The Bach Choir may appoint.
• The Panel of judges reserves the right to divide the prize between two or more composers, or withhold the prize if there are no entries of sufficient merit to justify an award being made. The decision of the Panel shall be final and binding.
• Entries should be sent to Nick Cutts, General Manager, The Bach Choir, PO Box 61756, London, SW1H 0UZ. Please don’t include your name on the printed music.
• Each entry should be accompanied by a covering letter, which includes the title of the work, composer’s name, date of birth (if 18 or under) and address.
• Competitors should enclose a stamped, addressed envelope, for return of their scores, if required.


 XIVth Inter­nati­o­nal Com­posers Competition Jihlava 2018
Summary:Choral/orchestral competition
Deadline: 30 September 2017
Date Posted: 09 August 2017
Details: Com­pe­ti­tionAims:

The orga­ni­zers set them­sel­ves the task of ini­ti­a­ting and sup­por­ting cre­ation of new works which would be distinctive in com­posi­tion and acces­si­ble for inter­pre­tation and which would be of bene­fit for the reper­toire of non‑professional choirs.


Art. 1

Com­posers without age and/or nati­o­na­lity limi­tation may enter into the com­pe­ti­tion with their com­posi­ti­ons for mixed, women or all-girls and male cho­irs with orchestra accompaniment (instrumentation: strings (8 violins I, 6 violins II, 4 violas, 4 cellos, 2 contrabasses and some or all of these instruments: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani), writ­ten on text of their cho­ice pre­fe­ra­bly in Czech, Slo­vak or Latin lan­gu­age, alter­na­ti­vely in other language.

Texts sub­mit­ted in lan­gu­ages, which use other than Roman alpha­bet should be under­laid with pho­ne­tic transcription in the Roman alpha­bet (inclu­ding the names of the authors both lyrics and music) and accom­pa­nied with arough translation into Czech or English.

Art. 2

The required duration of the composition or cycle is in the range of 15 to 25 minutes.

Art. 3

Each com­poser should enter into the com­pe­ti­tion with only one com­posi­tion that has never been awar­ded in any com­pe­ti­tion nor com­mer­ci­ally published.

Art. 4

Each com­posi­tion should be sent in 4copies (easy legi­ble manuscript, copies the­reof or com­pu­ter prin­touts) to the add­ress: Spo­lec­nost pro FSU, o. s., Lesni 5, 586 03 Jih­lava, Czech Republic.

Note: Demo recor­dings are appreciated.

Art. 5

The com­posi­tion should be sent to the orga­ni­zer of the Com­pe­ti­tion till 30 September 2017 (postage stampdate).

Art. 6

The com­pe­ti­tion is anonymous.

Each com­posi­tion should be mar­ked by code-name/password only. Sheet of paper with the data about the composer (name and add­ress, both mail and e-mail and possi­ble other con­tact data) should be enc­lo­sed in asealed enve­lope mar­ked by the same code-name/password.

Art. 7

The manuscripts, copies and prin­touts shall remain in the possession of the com­pe­ti­tion orga­ni­zers. By ente­ring into the com­pe­ti­tion the author con­firms his/her per­mis­sion with the repro­duction of his/her com­posi­tion for the pur­pose of the poten­tial pre­sen­tation and with possi­ble non-commercial pub­lishing for FSU Jihlava.

Art. 8

Any fai­lure to meet any of the con­di­tion men­ti­o­ned in Articles 1to 7results in the com­posi­tion refusal from the competition.

Art. 9

The orga­ni­zers announce 3main awards:

1st prize CZK 11,000

2nd prize CZK 6,000

3rd prize CZK 3,000

Prize-winning com­posi­ti­ons will be per­for­med at one of following years of FSU Jihlava.

Art. 10

The inter­nati­o­nal jury will eva­luate all accep­ted com­posi­ti­ons. The jury has the right not to award any of the main pri­zes. The jury can recom­mend more com­posi­ti­ons for the pre­sen­tation in the future or, accor­ding to the possibili­ties, to award them with smaller money amount.

Art. 11

The accu­rate and com­plete terms and con­di­ti­ons of the com­pe­ti­tion in Czech and Eng­lish are for your dis­po­sal as well on the web­site of FSU (

or on the web­site of NIPOS ( In the case of any doubt or ambi­guity of their inter­pre­tation the deci­sive ver­sion isCzech.

Art. 12

The result of the com­pe­ti­tion will be offi­ci­ally announ­ced within the 61st FSU Jih­lava, which will be held in May 2018in Jihlava.

Con­tact add­ress: Spo­lec­nost pro FSU, z. s., Lesni 5, 586 03 Jihlava, Czech Republic


 ORIENT / OCCIDENT | International Composers’ Competition 2017 – 5th Edition
Summary:Competition with 2 categories
Deadline: 01 October 2017
Date Posted: 09 August 2017
Details: City: Tchaikovsky str. 7 – Lviv (Ukraine)
Sponsored by: Lviv Philharmonic Society
Date: from 19 to 23 November 2017

The project ”ORIENT/OCCIDENT” was born with the idea of meeting and sharing among composers of various nationalities and age, on the common theme of meeting between the world of the Eastern contemporary music and the Western culture.
The Competition will be made possible through one of the most renowned orchestras in Eastern Europe.
The high level technique and interpretative of the Lviv Philharmonic Orchestra, will be honored by the finalists of this international event.

The Competition is realized by the collaboration between KLKnewmusic and the Lemberg Sinfonietta.
The project is open to all composers of any age and nationality, who want to share their musical and personal journey, attend seminars and opportunities for discussion, on the art of our time, on the contemporary music and on the figure of the Composer in this Third Millennium.
The organization will select composers who will have the opportunity to participate in the “ORIENT/OCCIDENT COMPOSERS’ MUSIC COMPETITION 2017” from 19 to 23 November 2017 in the city of Lviv, inside the music center of Lviv Philharmonic Society.


Each composer must submit a score choosen in the following list:
a) Orchestra;
b) Soprano or mezzosoprano, and orchestra.
Deadline: 01 October 2017.
The work must not exceed 12 minutes.

The number of the orchestra’s instruments can be up to the following list, min 15/max 35 players: 1 flute (ottavino), 1 oboe (english horn), 1 clarinet (bass clarinet) 1 bassoon, 1 horn, 1 trumpet, 1 trombone, 2 percussionists, 1 harp, 8 violins I, 6 violins II, 4 violas, 4 cellos, 3 contrabass.

All score will be sent by email (only one work for composer), in PDF format, at
The selected works will be played on 22 and 23 November 2017 by Lemberg Sinfonietta.
All concerts will be recorded by a sound engineer and will be released a Cd containing the full concerts with the works selected.

Each email sent to submit a score shall include:
– The score and orchestral parts must be in A4 format, (please indicate minutes of the score) as PDF file (Sibelius or Finale program);
– A second PDF-file containing the identity of the composer (name and address, nationality, telephone number, email, website, short CV)
and a statement by the composer stating that the submitted work has never before been published, performed in public and/or broadcast before,
nor prized in any composer’s competition. Other file format than PDF are not acceptable and will result in the submission being rejected!
There is no registration form.
The Composition Staff will select the best composers, from all the application submitted, no later than 03 October 2017.


The tuition fee for all participants selected is €690 (euro 690):
€200+5% tax to be paid no later than 10 October 2017 by Paypal on email;
€490 payable on 19 November upon arrival at Lviv or by Paypal no later than 06 November for composers who will not be in Lviv.

The tuition fee includes:
– participation at rehearsals and check sound of the selected composers from 19 to 23 November 2017;
– Final concerts in Philharmonia with the works selected and performed by Lemberg Sinfonietta;
– professional audio/video recording of the final concerts;
– certificate of participation.

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

Administrative secretary for the International Music Composers’ Competition ORIENT OCCIDENT 2017 is Ms. Anastasiya Kodola.
For any question about the tuition fee and payment method write to
Please send a PDF file with your payment check to

 Mentor program with Peter Eötvös for composers and conductors
Summary:Composing Mentoring Programme
Deadline: 31 October 2017
Date Posted: 09 August 2017
Details: 01 Jan - 31 Dec, 2018

The Peter Eötvös Contemporary Music Foundation is announcing a mentoring program for young professional conductors and composers for 2018, 2019 and 2020. Leading professors of the program: Peter Eötvös (conductor, composer), Gregory Vajda (conductor, composer). For all working periods we are inviting renowned guest professors and musicians. The detailed program for 2018 is already announced here, the program of 2019 and 2020 will be promoted later, with a similar working pattern.The foundation provides accommodation and travel costs for the selected young artists and they can participate in the programs free of charge, as part of the mentoring program. The mentored young artists will get the chance to have special consultations with orchestra managers, festival managers, communication specialists and they could also visit great concerts halls, opera houses and widen their professional network.

Application deadline: 31 October 2017 (only online!)
Audition dates: 10-11 December 2017
closing date: 31 Oct 2017

 Los Angeles Master Chorale
Summary:Choral competition
Deadline: None
Date Posted: 09 August 2017
Details: The Los Angeles Master Chorale is pleased to sponsor its third Young Composers Competition and seeks a new work to be premiered at its annual High School Choir Festival on May 18, 2018, performed by 16 members of the Master Chorale.

The Los Angeles Master Chorale High School Choir Festival, now in its 29th year, is the culmination of a year-long education program in which 900 high school students come together to sing as a massive choir under the direction of Artistic Director Grant Gershon at Walt Disney Concert Hall in Los Angeles. For more information about the HSCF please visit this page.


For full details:

Summary:Electronic music call
Deadline: 27 October 2017
Date Posted: 09 August 2017
Details: Annual juried contest offers top three winners cash prizes and publication in Canada’s acclaimed magazine about experimental music and sound art.

Deadline for entries is October 27, 2017. Winners will be announced in February 2018.

For immediate release, TORONTO—Musicworks’ seventh annual Electronic Music Composition contest is now open to receive entries from anywhere in the world! Musicworks has been exploring experimental music and sound in a triannual magazine since 1978. Its annual juried contests spotlight new literary and musical talent, offering cash prizes and opportunities to be published and heard.

Electronic Music Composition Contest

Compose a piece in one of the following experimental genres: Acousmatic, Electroacoustic, Glitch, Intelligent Dance Music, Turntable Art, or Video music. Maximum length: 10 minutes. Accepted file types: MP3 or MP4 only. $25 entry fee includes a one-year subscription to Musicworks magazine; $5 each additional entry (unlimited).

First Prize: $500 cash, a composer profile in the Spring 2018 issue of Musicworks magazine and and your composition released on the Spring 2018 companion CD

Second Prize: $200 cash and a composer profile on

Third Prize: $100 cash and a composer profile on

Entry portal, assessment criteria, prize details, and past winners can be found on our contest landing page!

Also check out our Sonic Geography Writing Contest

Describe how sound shapes your experience of a specific place in 500 words. The first-prize-winning essay will be published in our regular Sonic Geography space in the Spring 2018 issue of Musicworks. Second- and third-place winning will be published online. Accepted file types: PDF only.

 2018 Bassoon Chamber Music Composition Competition
Summary:Bassoon competition
Deadline: 15 December 2017
Date Posted: 02 August 2017
Details: 2018 Composition Description

The 2018 Bassoon Chamber Music Composition Competition (BCMCC) is a special competition open exclusively to female composers. Submitted works may be written for bassoon alone, or bassoon with piano. The compositions may be single movement or multi-movement, and must be between 5 and 8 minutes in total duration.

The winning piece of the BCMCC 2018 Composition Competition will also be a required piece for the prestigious 2019 Meg Quigley Vivaldi Competition (more details below).

2018 Competition Timeline
August 1, 2017: Competition Announced
November 1st: Submissions online open
Dec. 15, 2017: Submissions online close
February 1, 2018: Winner announced
May 1, 2018: Published winning work is available to the public for sale

The composer of each submitted work will receive comments from the adjudicating panel of professional musicians.
One work will be chosen as the winner of the 2018 BCMCC.
Up to two works may receive an Honorable Mention prize.

The 2018 Winning Composition will receive the following prizes:
- Workshopping of the piece via email, Skype, Google Hangout, and/or some other means of communication. 

- The name of the work and bio of the composer will be listed on the BCMCC website. 

 Publication of the work through Imagine Music Publishing: The publishing agreement for the winning piece will be worked out between Imagine and the winning composer, including royalties earned from each score sold to be paid semi-annually. The piece will be available for sale by May 1, 2018.

The winning work will also be a required piece for the prestigious 2019 Meg Quigley Vivaldi Competition:

As a result, this winning piece will be purchased and played by young bassoonists all over the Americas.

The work will be heard by those who attend the three-day MQVC symposium performed by women bassoon players who are citizens of the Americas (North America, Central America, South America), or who are enrolled in school in the Americas during the year prior to the competition and who are 25 years old or younger. Visit for more information.

 Previous MQVC’s have featured repertoire by composers HyeKyung Lee, Nancy Galbraith, Libby Larsen, Margi Griebling-Haigh, Jenni Brandon, and Katherine Hoover.

2018 Honorable Mention winners will be listed on the BCMCC website and social media. They will also be given the opportunity to include a recording of their work on the BCMCC website pending Board approval.

- Open to female composers regardless of age or country of origin. 

- A composer may submit only one entry per competition year. 

- Previous winners may not compete. 

- Completed applications must be received on or before December 15th, 2017 at midnight Pacific Standard Time. 

- Late submissions will not be accepted. 

- The submission must be a new work written within the last 5 years (2013-2017) that has not been previously published or widely performed professionally. 

- The compositions may be single movement or multi-movement, and must be between 5 and 8 minutes in total duration. 

- Works submitted must be for bassoon alone OR bassoon with piano. 

- A performance history must be provided for works that have been previously performed. 

- A $25 application fee is required 
An anonymous PDF score and MIDI sound recording are part of the application process. 
Incomplete applications will not be processed.
All fees submitted are non-refundable.
All decisions are final. If the judges feel it necessary, no prizes will be 
Additional terms and conditions apply, as outlined below. 

The composition I am submitting for the BCMCC was written by me and is a new work written within the last 5 years that has not been previously published or widely performed professionally. The submitted composition cannot be published until after I have been notified by the BCMCC of the competition results (by February 2018). If I am not a finalist in the BCMCC I retain all rights to publish and perform my composition. 
I grant the BCMCC the right to perform my composition in future BCMCC performances. I will work with Imagine Music Publishing to have my composition published and ready for sale by May 1st 2018.
If I am selected as a winner of the BCMCC, I agree that the BCMCC may use my name and the title of my composition in materials pertaining to the BCMCC. 

Online Applications for the 2018 BCMCC will be open from November 1st, 2017 through December 15, 2017.
The BCMCC utilizes an online application process and can be found at starting November 1st, 2017. The online application process has three parts and must be completed in one sitting. You will need the following information: 
Part 1:
1. Your basic information including: 
An email address – this will be the main method of contact by the BCMCC 
2. Upload the score of your composition 

Scores must be submitted in a Finale or Sibelius style notation, as PDFs in 8.5 x 11 format.

All scores must be anonymous, meaning you must remove your name from all locations on the score.

Your score must be labeled lastname-bcmcc-score (example: smith- bcmcc-score.pdf)

The limit per uploaded file is 10MB.
The total of all files submitted may not exceed 20MB.


Upload the MIDI sound recording of your composition- LIVE

mp3 format
Your recording must be labeled lastname-bcmcc-audio (example: smith-
The limit per uploaded file is 10MB. Multiple files are accepted. The total of all files submitted may not exceed 20MB.

NOTE: All file size limits are 10MB per file uploaded. An ENTIRE application (combination of all files uploaded) must not exceed 20MB. If your files total more than this, please contact us for an alternative submission process.

Part 2:
1. Tell us how you heard about the BCMCC 2. Agree to the terms and conditions (above) 3. Sign your name electronically
4. Submit your application

Part 3:
1. After submitting your application you will be directed to pay a $25 application fee through Stripe (web and mobile payments). If you are unable to use Stripe (some international cards are not accepted), contact the BCMCC ( for an alternate method of payment. 2. Complete your BCMCC application.

After you have completed all three parts of the application process you will receive a confirmation email within 7 days. If you do not receive a confirmation email after a week of completing your application, please contact us (

 2018 MACRO Composers Competition
Summary:Woodwind quintet
Deadline: 05 December 2017
Date Posted: 02 August 2017
Details: Entry Guidelines and Submission Procedures
• Submit one or more original works for standard woodwind quintet composed within the past three years. Works must be unpublished, and must not have previously won any award. There are no duration restrictions. There is no entry fee.
• Submit your materials electronically to wgooch [at] Each entered composition should be sent separately. Each entry must include the following:

1. A PDF file of the score, with composer name and other identifying marks removed.
2. An audio file of a performance or MIDI realization of the composition. Only MP3 or WAV files will be accepted, with a maximum size of 15 MB. Contact the Competition Chair (e-mail address above) if you have questions.
3. A completed entry form, submitted as an e-mail attachment. Only PDF and Word files will be accepted.
4. A biographical sketch, submitted as an e-mail attachment. Only PDF and Word files will be accepted.
5. A statement, indicating how the principles of macro analysis are involved in the entered composition, submitted as an e-mail attachment. Only PDF and Word files will be accepted. See the ENTRY FORM for further information.
6. Entries with a total attachment size exceeding 15 MB may be sent in more than one e-mail.
7. All materials must be received by December 5, 2017. Late and/or incomplete entries will not be accepted.

Responsibilities of Competition Winner
• The winner will be notified by January 5, 2018. The winner must be a MACRO member or must join in order to receive the award. To join MACRO, simply submit the online Membership Application and Registration Form. A valid U.S. Social Security number is required in order to receive the cash award.
• The winner agrees to speak about his/her winning composition at the 2018 MACRO Workshop, to be held in Madison, Wisconsin on June 15-16, 2018. MACRO will reimburse up to a maximum of $500 in travel expenses. Important: A valid U.S. Social Security number is required in order to be reimbursed.

For Further Information
If you have questions about the competition, please contact Dr. Warren Gooch, Competition Chair, at wgooch [at] (e-mail).
If you have questions about MACRO or macro analysis, please consult the MACRO Web site at or contact Dr. Jamie Henke, MACRO Chair, at 21 N Park St, Room 7334, Madison, WI 53715, or (608)263-6822 (telephone), or jamie.henke [at] (e-mail).

 Heckscher Foundation-Ithaca College Composition Prize
Summary:Chamber Competition
Deadline: 30 October 2017
Date Posted: 02 August 2017
Details: 2017 Ithaca College International Heckscher Composition Prize

The Ithaca College School of Music is pleased to announce the 2017 Heckscher International Composition Prize. This year the competition is for the best work for chamber ensemble of minimum 4, maximum 7 players (see guidelines following) submitted by a composer of any age or nationality. Works with electronics are not acceptable. The work’s duration must be a maximum 15 minutes. The work may have been previously performed or awarded other prizes.

The work shall be scored for a minimum 4; maximum 7 of the following instruments

Flute (doubl. picc and alto flute)



Percussion (1 player)




The composer of the winning work will receive $1,750. There is no application fee.

The winning work will be performed by the Ithaca College Contemporary Ensemble. The composer of the winning work is expected to attend the award performance at Ithaca College on April 19, 2018.The competition will not provide travel/accommodation allowance.

Submission deadline is October 30, 2017. The winning work will be announced on the Ithaca College Heckscher Competition website by December 4, 2017.

Submission must be anonymous. Only ONE submission per composer will be accepted. Score and recording must show the title of the work only. Should any part of the composer’s name be legible on the score, recording or linked URLs, the entry will be disqualified.

For submitting materials electronically, please use the online entry form. Do not submit materials via email. To submit your materials, you will need to provide direct URLs to the following:

1. a score in PDF format (no other format will be accepted)

2. a recording, audio or video (if available). For audio, mp3 is preferred.

3. a text or PDF document containing your full name, address, telephone number and e-mail address. This document should be labeled with the title of your piece plus the words “contact info”, example: "Mypiece-contactinfo"

PDF, audio, video and text files should be uploaded to platforms such as Dropbox, Megaupload, or any hosting space, making sure that no part of the URL or linked page reveals the identity of the composer. Your materials must be available at the provided URL until at least December 30, 2017.

If any questions, send an e-mail to Emmanuel Berrido

If sending hard copy, please submit:

1. Bound anonymous score

2. Recording (audio CD only)

3. Sealed envelope containing the composer’s name, address, telephone number and e-mail address (Write only the title of the musical work on the envelope.)

Mailing Address:

School of Music

Attn: Composition Area/Heckscher PrizeIthaca College

953 Danby Rd

Ithaca, NY 14850

Please note that online submission via the form below or mail-in submissions are the only valid forms of submission. Do NOT send materials or links via e-mail.

Please note that online submission via the form below or mail-in submissions are the only valid forms of submission. Do NOT send materials or links via e-mail.

To access the online form, follow this link or copy-paste the URL below into your web browser's top window:

We strongly encourage electronic submissions


 Golden Key Piano Composition Competition
Summary:Solo Piano Competition
Deadline: 01 December 2017
Date Posted: 02 August 2017
Details: The intent of the Golden Key Piano Composition Competition is to encourage creativity and self-expression in new and upcoming composers and to provide an opportunity for winning compositions to reach an international audience at the World Composers’ Recital held as part of the Golden Key Music Festival of Vienna.

The Competition has National and International Divisions. The National Division is only open to composers who are currently residents of the United States. The International Division is open to composers from anywhere in the world. Residents of the US can submit applications for National, International, or both.

See our How To Apply page for application details.

Age Requirements

The Competition is open to composers in five age categories:

• Elementary (age 5 – 10)
• Junior (age 11 – 14)
• Senior (age 15 – 18)
• Young Artist (age 19 – 26)
• Professional (27 and older)

A composition submitted for the Competition may be in any style and should be originally written for a piano or a piano in ensemble with other instrument(s) or voice(s) as long as piano would be the leading, not just an accompanying, instrument. Compositions for prepared piano are not permitted.

Deadline for submission: December 1, 2017.

Winners and Recitals

Winners will be announced on this web site no later than January 5, 2018.

Winners in each category will receive Diplomas in either First Degree, Second Degree, Third Degree, Fourth Degree, or Honorable Mention.

Selected winning compositions will be included in the program of the World Composers’ Recitals at Ehrbar Hall (Vienna), part of the Golden Key Music Festival of Vienna (August 1–8, 2018). Note: only one piano would be available on the Ehrbar Hall stage for the Recital. The winners of the Piano Composition Competition and their families are invited to attend the Vienna Festival. For more information about registering for the Vienna Festival, see our Vienna: How To Apply page and our Vienna: Tour page for the tour itinerary.

The top winner in each of the five age categories in the two Divisions (National and International) will receive a $500.00 scholarship towards his or her participation in the Golden Key Music Festival of Vienna. In the case of a tie, the scholarship amount will be divided between winners equally.

We will be glad to promote works of our winners on the Composition Competition face-book. Please, email video recorded performances to

Each winner’s teacher will be awarded a Certificate of Excellence if teacher’s name is mentioned in the Application Form.

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

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


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

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

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

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

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


 “Key to the Future” – Opera Composition Competition 2018
Deadline: 22 August 2018
Date Posted: 02 August 2017
Details: Objectives of the Competition: Creating a forum for and drawing attention to new "popular operas" conceived in the spirit of the Artistic Manifesto of Bartók Plus Opera Festival, that are capable of luring back large audiences to the opera house.
Eligibility of Applicants: Any natural persons who are contemporary composers can submit their work to the competition, irrespective of their nationality, country of residence or age. The competition is not “anonymous” - one can only apply with full name and address.

Advertiser of the Competition: Miskolci Operafesztivál Nonprofit Kft. (Seat: 3525 Miskolc, Déryné u. 1; Reg. No: Cg: 05-09-016624, represented by Beáta Farkas, managing director). The Advertiser intends to advertise the Competition on a yearly basis, in accordance with its means and purposes, first in the year 2012.
Works to be submitted: Completed Work not yet performed on stage with an orchestra. There are no restrictions concerning the topic, language and the length of the Work. One composer can submit several Works and several authors can submit one joint Work.

Preliminary Registration and the Application Process: Application is possible by submitting the Application Form downloaded from the website. In the course of Preliminary Registration, this Application Form should be sent to the email address Completion of each point of the Application Form is mandatory.

The amount of the Application Fee: 150 EUR, payable to Advertiser's following bank account at OTP Bank: HU44 1176 3347 5721 7886 0000 0000.

Submission of the Work: Application documents can only be sent by way of postal delivery.

The following information should be indicated on the envelope, postal parcel etc.
• The name of the Advertiser: Miskolci Operafesztivál Nonprofit Kft.
• Its postal address: Miskolci Operafesztivál Nonprofit Kft., 3501 Miskolc, Pf. 634
• The name of the Competition: “Key to the Future” – Opera Composition Competition
• The Sender, in other words the Applicant

Materials to be submitted:
1., The full score of the Work on paper and electronic media.
2., A synopsis of the Work summarising the story in maximum 1 page in A/4 format.
3., The duly signed original copy of the Application Form.
4., The banking document verifying transfer of the Application Fee to Advertiser’s bank account.

In addition to the Work (score) Applicants may choose to submit (non-mandatory):
• The Orchestral Part of the Work, but in case the Work is shortlisted for the Finals, within 5 working days from the receipt of the notification thereof; Applicant shall submit the finished Orchestral Part to the Advertiser by electronic mail.
• Any other Sound Recording.

Application deadline: 00:00 hours CET, 22nd August, 2018 The Application Deadline means Delivery to the Advertiser of the Competition.

Professional pre-selection: Works will be judged by a professional Jury consisting of 4-7 experts. The Jury will select 3 or more of the submitted Works that they consider to be most in compliance with the principles of the Artistic Manifesto of Bartók Plus Opera Festival. These Works shall be the Finalists in the competition.

The decision of the professional Jury and the list of the Works shortlisted for the Finals shall be published on 1st October, 2018, on the website.

Advertiser shall have Works shortlisted for the Finals performed at the Liszt Ferenc Academy of Music in partially staged versions with piano accompaniment in the fourth quarter of the year 2018.
The Jury will select and Advertiser will announce the winning Work from the pieces performed in the Finals at the Liszt Ferenc Academy of Music.

The Winner will be announced on the website within 1 working day following the performance at the Academy.

Advertiser will present the entire winning Work in a fully staged opera performance with orchestra at the festival in Miskolc in the year following that of the Competition. Advertiser, however, is not obliged to have the winning Work performed at the Miskolc Opera Festival.

Prizes and Usage Rights: Each Work shortlisted for the Finals will be awarded 1500 EUR.

The winning Work will be awarded additional sum of 4000 EUR and the Advertiser will use its means and purposes to present this Work in a fully staged complete opera performance, at the Bartók Plus Opera Festival the following year.

Usage rights of the Works are treated in detail in the Competition Call:

All payments related to the Competition Prizes shall be effectuated until 31st January, 2019. Payment of all prizes shall be effectuated by Advertiser to the bank accounts specified in the Application Form. Taxation shall be in accordance with the legal regulations effective with respect to the Applicants’ nationality or country of residence.

Further questions about the Competition, Participation Criteria or Application Documents can be addressed to: Sára Szakács, Competition Secretary, at the following email address:
Entry Fee:€150

 The David P ‘60 and Susan W Wohlhueter Jazz Composition Contest at Ithaca College
Summary:Jazz ensemble competition
Deadline: 01 October 2017
Date Posted: 02 August 2017
Details: About the contest
The contest has been created to encourage composers to write for the jazz ensemble and to give Ithaca College students the experience of evaluating and performing new music. Students will participate in the judging of the contest. The winner of the contest will receive a prize of $1,000 plus a concert recording of their piece with the Ithaca College Jazz Ensemble. In 2017 our guest artist at the culminating concert on December 8th, 2017 will be world-renowned drummer Matt Wilson, who will play the winning piece with the Jazz Ensemble.

In addition to reviewing submissions' musical quality, we will be assessing several other factors:

• Compositions should be steeped in the traditions of jazz music.
• Compositions should be musically accessible to both the audience and the performers.
• The difficulty level of the compositions should be such that they are playable by high school honor jazz bands, college bands, and professionals alike.
• Compositions may have drum solos, but they are not required to. Mr. Wilson's style and role in the piece should be well-conceived and clear. Featuring Mr. Wilson in creative ways other than in solos (or in addition to solos) is encouraged.
• Compositions must be clearly and professionally notated. Scores should be bound properly and parts bound/taped with well-considered page turns.
Winning pieces, composers and guest artists from previous years are listed at:

Submission deadline
All submissions must be received by October 1, 2017 to be eligible for the contest. Pieces received after that date will be ineligible.

Contest rules
Please read this complete set of rules before submitting your piece. (Instructions for submission are found below, in the section "How to enter the contest.")
1. Entries must be original, unpublished compositions for instrumental jazz ensemble, utilizing the following instrumentation:
• 5 saxophones, AATTB. 1st alto sax may also double on soprano sax. Any/all woodwind doubling parts must be optional, and the chart must be playable without the doubles. Non-doubling parts must also be provided.
• 4 trombones (3 tenor + 1 bass trombone)
• 4 Bb trumpets. Common mutes (plunger, straight, cup, harmon, or bucket) are usable. The range and endurance of college and high school honor band trumpeters should be considered thoughtfully. Flugelhorns are also possible.
• Rhythm section of piano, guitar, double bass and drum set. A part for vibes or auxiliary percussion is also possible.
• Other members of the jazz ensemble may also be given solos.
2. No transcriptions or arrangements (except arrangements of the composer's own works) will be eligible. Current Ithaca College students, faculty or staff (or direct family members of a student, faculty or staff member) are not eligible to enter the contest. Students, faculty and staff are encouraged to submit pieces/arrangements to Mr. Titlebaum for consideration for performance at any time, including for this concert, but not to enter the contest itself.
3. The composition may already have been performed, but must have been written in the past three years of the contest deadline.
4. The purpose of the prize is to encourage the composition and performance of the highest possible quality of jazz ensemble literature for a wide range of experience levels. Therefore, the composition should be conceived and constructed to ensure effective performance by high school honors jazz, university and professional ensembles alike.
5. Entries should be no longer than 10 minutes in length.
6. Compositions must be submitted with a full score and full set of parts. Compositions without a full score or complete set parts will not be considered.
7. An audio recording of the piece must be submitted along with the online entry form. High-quality computer renditions or MIDI-based recordings are acceptable, but a recording of a live reading, rehearsal or performance is preferable.
8. The submissions must be completely anonymous. Therefore, the composer’s name must not appear on score, parts, nor be audible on the audio file (if the composer's name is announced at a recorded performance, that portion should be edited out). The envelope containing the printed entry form confirmation email (see "How to enter the contest" below for the link to the online entry form) and a check or money order for $25 made out to "Ithaca College" should be included in the envelope. The date of composition must appear on the title page. Entry fees will not be returned for any reason.
9. Composers of any age or national origin are eligible.
10. Composers may submit as many pieces as they like, but each piece must be submitted separately with a separate entry fee, printed entry form and outer/inner envelopes for each.
11. The winning composer will receive $1,000 (US). Winners will also receive a concert recording of their piece with guest artist Matt Wilson, from the performance which is scheduled to occur on Friday, December 8, 2017 in Ford Hall at the Whalen Center for Music, Ithaca College. In the unlikely event that an unforeseen situation prevents Mr. Wilson from performing, the piece will still be recorded, but only with the IC Jazz Ensemble. The winner is strongly encouraged to attend the performance. Travel/lodging is at the composer’s own expense.
12. The Ithaca College School of Music has the option of withholding the award if no entry is found to be suitable.
13. Composers must not attempt to contact any of the members of the Ithaca College Jazz Ensemble, guest artist or faculty (other than to ask questions directly to the director) to exert influence over the outcome of the contest. Any attempt to do so will immediately disqualify the composer and all their submissions from the contest.

How to enter the contest
1. Read the complete set of rules (above).
2. Completely fill out an online entry form at the address and print the confirmation message you receive after submission.
3. Enclose the printed confirmation message and entry fee into a sealed envelope. Write your name and the name of your piece on this envelope.
4. Enclose the sealed inner envelope (containing the printed submission form and entry fee) with the fully anonymous score and parts, and place them all into a single outer envelope/package.
5. Send the envelope/package to be received no later than October 1, 2017 to:

Jazz Composition Contest
Ithaca College School of Music
953 Danby Road
Ithaca, NY, 14850

Questions can be addressed to Mike Titlebaum, Director of Jazz Studies, at In any communication, do not name your piece or mention any specific aspects of it that would identify your piece to ensure that anonymity of all the entries is maintained.

I'm looking forward to hearing the pieces!


 2018 ISB Composition Competition
Summary:Bass with various categories
Deadline: 01 June 2018
Date Posted: 02 August 2017
Details: The International Society of Bassists biennial composition competition is dedicated to the memory of double bassist David Walter, longtime ISB member, performing artist, composer and renowned educator.

DEADLINE: Online entries due by June 1, 2018.

The goal of the Competition is to encourage the creation of new repertoire and/or the discovery of unknown repertoire for the double bass. There are four divisions of the competition, open to all composers. There are no restrictions regarding past performances, publications or recordings of a work. However, widely known works that are deemed to have entered the standard double bass repertoire, based on the judgement of a panel of judges, will not be considered. Entries can be in any style, between 6 to 15 minutes long. WINNERS WILL BE ANNOUNCED ON OR SHORTLY AFTER SEPTEMBER 1, 2018.

• CHAMBER DIVISION: For one double bass in an ensemble from two to five players. Entries may consist of a prominent bass part plus additional players drawn from the following: piccolo, flute, alto flute, oboe, English horn, clarinet, bass clarinet, bassoon, saxophone, French horn, trumpet, trombone, euphonium/tuba, percussion (1 player), harp, guitar, piano/other keyboard instrument, violin, viola, cello and/or voice. Normal woodwind doubles are acceptable: flute/piccolo/alto flute, oboe/English horn, clarinet/bass clarinet.
• BASS ENSEMBLE DIVISION: A new work for two to eight double basses
• DOUBLE BASS AND ELECTRONIC MEDIA DIVISION: Includes video, live electronics, backing tracks, computers, etc.

GRAND PRIZE: $1,000 U.S. for each division, made possible by the generous support of The Ned and Frances Black Fund, and performances at the 2019 ISB Convention.


 Toru Takemitsu Composition Award - 2018
Summary:Orchestral Competition
Deadline: 29 September 2017
Date Posted: 02 August 2017
Details: The orchestral composition competition will take place in the following years. Young composers from all over the world are urged to submit their newly created works during their preferred competition year (may enter multiple years).

2018 Unsuk Chin (Korea)
2019 Philippe Manoury (France)
2020 Thomas Adès (United Kingdom)
2021 Pascal Dusapin (France)

Preliminary Screening: The judge will screen the submitted scores and select a certain number of works to be performed.

Final Selection: Those works selected during the preliminary screening will be performed in concert (“Final Concert”) at the Tokyo Opera City Concert Hall: Takemitsu Memorial, and the year's award will be decided by the judge following the performance (see [Final Concert and Other Information]).

Cash Award: Cash Award: the total sum of 3,000,000 Yen, each year.
The judge may withhold the prize (i.e. in absence of a suitable entry) or divide the prize among multiple entries.
The composers whose works are selected to be performed at the final selection will be invited to attend the concert.

Eligible scores Compositions for orchestra in any format except concerto, within the following instrumentation and to be performed with one conductor.
Scores that have been published, performed in public concert or commercially recorded before “Final Concert” are not eligible.

Instrumentation Maximum
Flute 3 (may double on piccolo or alto flute)
Oboe 3 (may double on English horn)
Clarinet 3 (may double on E-flat or bass clarinet)
Bassoon 3 (may double on double bassoon)
Horn 4
Trumpet 3
Trombone 3
Tuba 1
Extra wind 1 (one extra wind not listed above may be included)
Harp 2
Keyboard 2 players (may include piano(s), celesta, synthesizer)
Percussion 4 players (including Timpani)
Violin 30
Viola 12
Cello 10
Double Bass 8

-A change in instrumentation may be requested if unusual wind / percussion instruments are used.
-Any keyboard used (synthesizers included) must be easily available in Japan. If a specific model is required, please consult with the secretariat beforehand.
-Any applicant requiring inclusion of a keyboard or synthesizer must provide their own programmed sample and tone data, compatible with the model being used.
-Computer-based synthesizers, including software synthesizers, may be included but the keyboard player must be able to play the instrument from a piano-style keyboard. The applicant must also prepare the computer, software and interface.
-Use of real-time electric amplification / modulation, or accompaniment by recorded sound tape / CD playing is not permitted.

No shorter than 10 minutes nor longer than 20 minutes.

Qualified applicants
Any person, regardless of nationality, who is not over 35 years old at the end of the year of the application deadlines.

Application Deadlines
For the year 2018 Friday, 29 September 2017

 2017-2018 South Texas Brass Symposium – March 2nd and 3rd
Summary:Call for Scores: Brass Quintet
Deadline: 04 December 2017
Date Posted: 02 August 2017
Details: Competition Guidelines

Description: The organizing committee of the South Texas Brass Symposium is seeking original, unpublished works for brass quintet to feature in a recital performance by the Corpus Christi Brass Quintet during the annual brass symposium on March 2-3, 2018. The winning composition will receive an opportunity for a premiere performance at the symposium by the Corpus Christi Brass Quintet and a live recording of the work.

Eligibility: Open to anyone

Submission Fee: None

Instrumentation: Must be specifically scored for two B-flat Trumpets, F Horn, Tenor Trombone and Tuba.

Composition Guidelines: We are looking for a piece of music of medium length, between 5-10 minutes, of musical worth and substance that will be attractive to audiences and performers alike. The work should be listenable, appeal to general audiences and be written in traditional notation for the specified instruments listed above. The piece should be original and unpublished, although it may have been previously performed. All submissions will be judged anonymously with a third-party organizing the materials. Please make sure your name and contact information is included with your submission.

Submission Requirements: Applications will be submitted via email to Dr. Donald Pinson at, no later than Monday, December 4, 2017. Applications must include:

Anonymous PDF score and parts. Please hide your name and any other identifying information (for example, in the dedication or program notes.)
Recording in mp3 format (live recording or MIDI generated recording is acceptable). Please send as an attachment or direct download link. MIDI files will not be accepted; applicants must convert MIDI to mp3.
Applicant contact information and title of composition in email body.
Please label the subject line of your email as “STBS quintet”
The winning submission will be notified by February 1st, 2018. Attendance at the Symposium is not required, but highly encouraged. Any questions or concerns can be directed to Dr. Pinson at the contact information above.

 2018 S&R Foundation Washington Award
Summary:Funding Opportunity
Deadline: 05 October 2017
Date Posted: 28 July 2017
Details: Are you an emerging artist looking to further your craft?

The Washington Award recognizes talented artists working in visual arts, music, and dance.

Why apply?

• Winners receive an unconditional cash prize of $5,000 to support their career development.

• An additional $5,000 may be awarded as a Grand Prize to an artist of outstanding ability.

• Award winners become part of the S&R Foundation network of artists, scientists, and social entrepreneurs.

• Award winners may be eligible for performances or exhibitions supported by S&R Foundation.

To learn more and to apply online visit:

***Applicants must not be enrolled part/full time in a degree granting program. International applicants are welcome to apply.

Deadline: 20 November 2017
Date Posted: 27 July 2017
Details: AWARD:
• World Premiere of the composition at the Steinway Piano Gallery Miami, in H.E.R. hear|echo|reflect program of the Kaleidoscope MusArt “Spotlight” Series. This concert will be scheduled during Women’s History Month (March 2018), celebrating the creativity of women composers.
• The selected composition will be performed by one of our Kaleidoscope MusArt team members. To learn more about the pianists in the team, click here.
• The performance of the selected work will be recorded live, and shared on our youtube channel and other social media upon composer’s approval.
• All submissions will be reviewed by Kaleidoscope MusArt team members.
• The artistic committee may choose two shorter works, or one longer composition for this occasion.
• All works submitted will be considered for future programming.

1. Length of composition: 6-10 mins.
2. The composition can include the use of fixed audio media. *
3. The submitted work can include extended techniques. *
4. The submitted work cannot be for a prepared piano. *
* Contact us at for further information, inquiries, or concerns.

• Submission deadline: November 20, 2017
• Results to be announced: December 15, 2017
• Performance of the work: March 2018 (exact date TBD)

1. PDF of the submitted composition. Optional addition to submission: MP3 recording (midi-file acceptable).
2. A brief description of the work.
3. CV/Resume.
4. List of works (including instrumentation and dates of composition).
5. Two work samples (PDF + audio/video recording), at least one of which must be a composition for solo piano.
6. Administrative Submission Fee: $15. Please include the receipt with your application.
7. Send all the required materials in one email, either as attachments and/or links to with the subject line: Call for Scores 2018 + Your Name.
8. Application materials and payment are both due on November 20, 2017.


 Announcing the 3rd Calliope’s Call Art Song and Vocal Chamber Music Call for Scores
Summary:Songwriting call
Deadline: 15 December 2017
Date Posted: 27 July 2017
Details: Founded in 2014, Calliope’s Call is an innovative art song performance group that concertizes around the United States. Our artists are professional emerging and established singers and instrumentalists who are dedicated to the performance of vocal chamber music and classical art song. Calliope’s Call creates unique and dynamic programs of works by traditional composers as well as living composers of contemporary music to share the entire spectrum of the art song repertoire with audiences.

Composers whose work is selected will receive:
• At least 2 performances of the winning work(s) during the Calliope’s Call concerts in Boston, MA in April 2018
• A professional audio recording of one of the performances
• Advertising on our social media outlets, Calliope’s Call website, and in our newsletter

- The program for the spring concerts is Cross Connections: Tom Cipullo and features music dedicated to the works and career of celebrated American art song composer, Tom Cipullo. To complement this program—which has been curated to feature works by Cipullo as well as works that have influenced him in his career as a composer of art song—Calliope’s Call is holding a Call for Scores for works that set poetry by Emily Dickinson and/or Walt Whitman, two of Cipullo’s most influential poets. Submitted works must set music to poetry by Emily Dickinson and/or Walt Whitman and will be featured as part of the Cipullo program.
- Submitted works must be for any combination of soprano, mezzo-soprano, baritone, and piano, and can be written for solo voice, duet, or trio. Works that feature other instruments besides piano cannot be considered at this time.
- Works for duo or trio will be given priority and applicants are encouraged to submit works for more than one voice if possible.
- Works may be a cappella or with piano.
- Works must be between 5 and 8 minutes in duration. Longer works may be submitted as long as there is a possibility to excerpt portions or movements of the piece.
- Please only submit original art songs; excerpts of operatic works will not be considered.
- Submissions from any composer, regardless of gender, age, or citizenship, are welcome.
- Compositions may not require electronics of any kind. Our venues are not able to support electronic set-ups;
- Limit 1 work per $20 application fee. Applicants may submit up to 3 applications.

Each composer must submit:
o A legible score and parts of professional quality;
o An application form to include the applicant’s name, address, telephone number, e-mail address; a 250-word (maximum) biography; a high-resolution head-shot photograph; and a 200-word (maximum) summary of the work to be used as a program note;
o A digital recording of the work. MIDI realizations are acceptable;
o A $20 application fee via PayPal.

All materials will be submitted online.

Instructions for Submitting Materials:
– All materials (Application form, Score, Recordings, Biography, Paragraph about the work) should be uploaded to the Calliope’s Call website at:
- All uploaded documents, scores, and recordings must be labeled in the following manner:
Last name_First name_Title (i.e. Doe_Jane_Biography)
- Multi-movement works may be submitted as different tracks, with the following titles:
Last name_First name_Title_Movement (i.e. Doe_Jane_ArtSong_1)
- Please only submit files and Paypal payments once: if you experience a problem with your submission, please contact Clare Longendyke with your questions.
- All materials (Application form, Score, Recordings, Biography, Paragraph about the work) should be uploaded to Calliope’s Call (below)

All materials must be received by December 15, 2017 and applicants will be notified by e-mail no later than February 1, 2018.
For further information or questions, please email


 Leatherhead Choral Society
Summary:Choral competition
Deadline: 31 October 2017
Date Posted: 27 July 2017
Details: Leatherhead Choral Society is announcing a composition competition for a new work to be performed at a gala concert on July 7th 2018 as part of its 90th anniversary celebrations. The competition is free to enter and is open to all composers.

The composer of the winning entry will be presented with a cash prize of £350 and the opportunity to workshop the piece with the choir.

The competition will be judged by a panel consisting of the internationally-known composer Alan Bullard along with the choir’s musical director Ian Assersohn and chair Lindsay Sampson.

Deadline for entries is October 31st 2017.

Further details:

 Leeds Philharmonic Christmas Carol Competition
Summary:Carol Competition
Deadline: 01 November 2017
Date Posted: 27 July 2017
Details: The Leeds Philharmonic Society invites submissions for the 1st Leeds Philharmonic Christmas Carol Competition.

Entry Fee £15 with £10 for each additional work.

Closing Date 1st November 2017

Winning Entry to be performed at the Lord Mayor’s Carol Concert
and to be
Published by the Royal School of Church Music

Competition Regulations
1. The competition is open to composers of any nationality and age.
2. The composition should be written for SATB choir a cappella, or with organ accompaniment. Whilst limited divisi will be accepted, special consideration will be given to works that communicate their musical ideas with efficiency, and demonstrate an understanding of the practicalities of learning new repertoire at this busy time of year.
3. The nature of the work shall be sacred, on a Christmas theme.
4. The selected text should either be in public domain or else requires the written consent of the author or the copyright holder (to be enclosed with the application). Text can be in any language but works set to languages other than Latin or English need to be accompanied by an English translation and, if applicable, guidelines for pronunciation.
5. The composition must have never been publicly performed, published or recorded before December 14th 2017.
6. The duration of the work should not exceed 5 minutes.
7. There is a participation fee of £15 for every composer. However, composers may submit more than one work but in such cases an administrative fee of £10 for every extra work will be charged. Each work must be accompanied by a different application form and nom de plume.
8. Payment of the participation fee/s should be made by cheque or bank transfer to:
Payee/Account: Leeds Philharmonic Society Sort Code: 05-04-49
Account: 17555174
9. There will be one prizewinner who will receive £750, and the first performances and recording of the work will be at the Lord Mayor’s Carol Concerts in Leeds Town Hall on 14th December 2017. The work will also be published by the Royal School of Church Music.
10. The Jury will consist of the Society’s Musical Director David Hill and Chorus Master Richard Wilberforce, Organist Simon Lindley, and Tim Ruffer, Head of Publishing at RSCM Press.
11. The results of the competition will be announced in Leeds Town Hall on November 25th at the Society’s performance of Howells’ Hymnus Paradisi.
12. The decisions of the Jury are final and no correspondence will be entered into about the results.
13. The Jury reserves the right not to award a prize if it feels that none of the submissions meets the required standard.
14. The copyright of the work belongs to the composer. Nevertheless, whenever the winning work is performed, recorded or printed, the following sentence must be included: “Winner of the 1st Leeds Philharmonic Christmas Carol Competition”.
15. The application shall be submitted as follows:
a. 3 copies of the score, preferably not handwritten and identifiable only through the title of the work and the nom de plume;
b. written statement by the author or copyright holder of any non-public domain texts allowing the use of the text for this competition;
c. copy of bank transfer payment confirmation or a cheque made payable to the “Leeds Philharmonic Society”;
d. completed application form and signed declaration in a sealed envelope marked only by the name of the work and the nom de plume;
e. translation of text into English and/or guidelines for pronunciation (if applicable).
16. Received scores will not be returned to composers.
17. Competition material must be sent to the following address:
Leeds Philharmonic Christmas Carol Competition, c/o Philip Ratcliffe, 7 West Royd Villas, King Cross, Halifax, HX1 3LS
And received there no later than 1st November 2017
18. Submitted competition material cannot be returned after the conclusion of this competition.

Summary:Choral competition
Deadline: 01 December 2017
Date Posted: 27 July 2017
1. The International Federation for Choral Music (IFCM) announces the ‘Third International Competition for Choral Composition’, the chief aim of which is to promote the creation and wide distribution of new and innovative choral repertoire.
2. Participation is open to composers of any nationality or age.
3. The Competition is dedicated to choral compositions a cappella (SATB or divided into as many as eight parts, SSAATTBB) with a maximum duration of 5 minutes, specifically for medium to advanced youth choirs. The text of the composition, sacred or secular, in any language, written for the occasion or pre-existing should be in the public domain. If not, permission in writing must be obtained from the author or copyright holder of the text and must be enclosed with the entry form.
4. There is a 50 USD entry fee payable at the time of submission for each entry.
5. Only one work per composer may be submitted. Scores must be sent electronically either in PDF format made from Sibelius or Finale files or in a similar program. A midi file may also be included with any submission. Tapes or CDs may not be submitted. The composer’s name must not appear anywhere on any score. The IFCM Competition Office will receive all works, which will then be sent to jury members. No composer’s identity will be divulged to the jury before or during judging. The jury’s decision will be announced in the ICB and in the IFCM website. Each participant must include a document (.doc or .PDF file) with full address, contact details and title of the composition submitted. This document must also contain a written, signed statement by the composer declaring that any score submitted is unpublished, has never previously been performed, and has never been awarded a prize in any previous contest. Entries must arrive by the entry form no later than 1st December 2017. Works cannot be revised after submission.
6. The competition will be judged by a five-member jury consisting of international choral conductors and composers. The jury’s decision is final.
7. Strong consideration will be given to a work’s potential for performance and for the prospect of repeated performances by a medium to advanced SATB (SSAATTBB) youth choir possessing the appropriate voicing requirements. The winning work must demonstrate excellence of compositional craft, imagination, ‘sing-ability’ (given reasonable rehearsal time), idiomatic effectiveness and, most importantly a fresh approach to choral writing.
8. The winning works will receive the following:
First Prize: 5,000 USD, IFCM Awards Certificate and plaque
Second Prize: 2,500 USD, IFCM Awards Certificate and plaque
Third Prize: 1,000 USD, IFCM Awards Certificate and plaque
The composers of the three winning works will be invited to Shanghai for the IFCM Choral Expo 2018, where their pieces will be premiered by appointed participating choirs. IFCM will take care of travel and lodging expenses of the invited composers. In consultation with the composers, the three winners will be featured in the ‘Composers’ Corner’ column of the International Choral Bulletin where an interview with the composers and some excerpts of the winning scores may be published in print and on-line.
9. The copyright to the winning works will always remain with the composers and librettists.
10. Participation in the competition implies full knowledge and acceptance of these regulations.

Andrea Angelini, Artistic Director of the Competition (

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

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

The Application must include:

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

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

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

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

Entry forms for UK entries can be obtained by post, enclosing a stamped (93p) C5 envelope, from:
The Sanders Society,
144 Tuffley Avenue,
Overseas applicants please contact


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

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

Work for an instrumental ensemble

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

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

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

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

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

P.O. Box 540

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

CALL for Scores

All submissions should employ the following performing forces:

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

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

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

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

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

4) Brass quintet
Duration: up to 10 minutes

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

Submission is free and it is not anonymous.

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

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

Applications should be emailed to or mailed to:
Udruženje kompozitora Srbije
Mišarska 12–14, 11000 Beograd, Serbia

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

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

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

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


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


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

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

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

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

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


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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Art. 22
The Court of Milan will be competent to resolve any dispute.
for further infomation:

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

Article 1 - Object

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

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

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

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

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

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

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

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

Article 6 – Jury and voting procedure

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

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

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

Article 7 – Prizes and expenses refund

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

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

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

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

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

 College Light Opera Company
Summary:Opera opportunity
Deadline: None
Date Posted: 12 July 2017
Details: New Works Initiative
The College Light Opera Company is seeking submissions for its 2018 New Works Initiative as part of its 50th jubilee celebrations. The winning one-act piece will be selected by a committee of judges. The winner of this competition will be awarded a prize of $2,000 and production of the new work as part of the 2018 festival season. The prize and production are contingent on the composer and librettist agreeing to the terms of the agreement. The CLOC New Works Initiative is intended to support emerging composer-lyricist teams.

Competition Rules
There is no entry fee. Please follow these guidelines in preparing your manuscript:

1. This contest is restricted to music-theatre works written in the English language.
2. Each composer and lyricist team may submit only one piece.
3. Submissions must be original, unpublished one-act operettas or music-theatre works written in English. Translations, and children’s operas are not accepted.
4. Works that have been professionally produced, published or had a workshop, concert or non-professional production are not eligible.
5. Works may not be under option, commissioned, or scheduled for professional production or publication at the time of submission.
6. Works must be submitted digitally in PDF format as well as using MIDI or equivalent format.
7. Works must utilize the full CLOC orchestra: 1 flute (doubles piccolo), 1 oboe (doubles english horn), 2 clarinets (doubles E-flat and/or bass clarinet), 1 bassoon, 2 horns, 2 trumpets, 1 trombone, 1percussion (drum set, timpani, etc.), 4 violins, 1 viola, 1 cello, 1 double bass, possible piano (note: we are an acoustic house and do not normally use synthesizers)
8. Works must utilize the full CLOC ensemble of 16 women and 16 men, include a solid balance of male and female roles and provide a strong and active role for the chorus. All principals must be drawn from this group of performers.
9. Works must not exceed 60 minutes in length and should be an appropriate piece to be used as a curtain-raiser for a Gilbert and Sullivan or other English light operetta.
10. The CLOC New Works Initiative reserves the right to reject any manuscript for any reason.


 2018 USF New Music Festival & Symposium
Summary:Conference Composition Call
Deadline: 02 October 2017
Date Posted: 12 July 2017
Details: Attn: Composers and Scholars

July 7, 2017 – Tampa, FL

Email contact: Baljinder Sekhon,


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

Participant Eligibility:

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

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

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

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

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

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

Composition Eligibility:

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

The following submission categories are possible:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Composition Submission Guidelines:

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


For additional information, please email Dr. Baljinder Sekhon:

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


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

6 Prizes of total € 5000, -

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

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

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


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

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

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

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


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

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

Final concert will be performed by Ensemble Suono Giallo

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

Exact dates, rules, and location will be announced soon on

Deadline: November 15, 2017.

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

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

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

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

Saturday 21st October 2017
10am - 4pm

Cost: £55*


Shirley House
31 Psalter Lane
Sheffield S11 8YL

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

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

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

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

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

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

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

Letters of application, together with a curriculum vitae, list of works and performances, and three to five letters of reference, should be received on or before October 1, 2017 at:

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

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

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

◆Sponsored by Sichuan Conservatory of Music
◆Organized by Research Institute of Composition Technique of Sichuan Conservatory of Music
Composition Department of Sichuan Conservatory of Music

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

◆Chairman of the Jury
Dr. Zhou Long
Pulitzer Prize-winning composer
Distinguished Professor of Music, University of Missouri-Kansas City
Distinguished Professor, Tianjin Conservatory of Music

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

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

Rule of the Competition

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

the competition of this year is chamber music, and the establishment of music instruments to be selected of 1-9 instrumentalists combined willingly and the same instrument is not more than 4. (Without any electronic instrument, equipment and computer)
The composition should be under 12 minutes.
1. All students (without any restrictions on nationalities, regions and ages).
2. The composition should be written any style and in last three years.
3. The composition must be unpublished, and must not have been awarded in any other contest prizes.
4. Each candidate is allowed to offer only one piece for the competition and should not enter for the competition with others' name.

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

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

◆ Contact
Mrs. Liang Yi-fei
Mr. Jing Xu
Tel & Fax +86-28-8543 0253
Deadline: 08th October 2017
(Entries must be received before 08th October 2017)
we recommend the candidates to offer the CD record of the composition, but the audio files are not required.
All materials offered by the candidates (including scores and CD) will not be returned.

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

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

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

◆Additional Directions
1. Please do not write your name and any non-musical notes on the composition score, otherwise the candidates cannot enter for the selecting procedure.
2. The entry form is enclosed (copy is available), which should be posted after being filled out with the record and copies of the composition score.


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

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

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

The winning composer will be invited to attend the rehearsals and performance of their work, and be publicly honoured at the AMP Gala Concert.TO nominate a work for the 2018 Azrieli Prize before Nov. 5, 2017, please visit:

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

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


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

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

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

Amount of Commission:

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

Description of the Composition:

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

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

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

Expectations of the composer:

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

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

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

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

Application process and deadline:

Interested Jewish composers must send the following:

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

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

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

Email application documents to

Any printed scores/media should be sent to:

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

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

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

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

Past Commissioned Composers:

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

Deadline: 1 Oct 2017

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

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

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

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

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

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

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

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

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

IBAN IT93E0200803459000104399498

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

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

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

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

The court of Napoli (Italy) shall have exclusive jurisdiction over any disputes related to the terms and conditions mentioned above.
For more information, visit or write to

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

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

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

8SW Composer Competition General Information

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

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

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

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

The winner will be announced in May, 2018.

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


The work may not have already received a professional premiere.

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

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

There can be no incorporation of electronics.

Only one submission per applicant.

One application fee of $11.00.

Competition Rules

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

All applicants must submit:

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

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

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

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

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

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

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

All questions should be directed to Ms. Katherine Liu, Project Manager at

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

For details, please contact Antonio Faioli, coordinator.

2018 Composition Competition–Clarinet Quartet

Antonio Fraioli, Coordinator Email:

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


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

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

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

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

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

6. A midi recording in .mp3 format or a clarinet quartet recording in .mp3 format may be submitted.

Contest Rules

Application fee: $25 US. Make amount payable to the “International Clarinet Association” in U.S. currency by bank check, money order, or credit card only. If paying by credit card, please use the credit card payment form. The application fee is non-refundable.
The 2018 Composition Competition call is for a work 10-15 minutes in length, scored for 3 B-flat clarinets and B-flat bass clarinet. The submitted work must have no prior performances.

A committee having no knowledge of the applicant will conduct the judging of scores and parts. Do not include any identification on the scores and on the .mp3 realization. The winner will be notified via email by January 31, 2018. The winning composition will receive a world premiere performance during ClarinetFest® 2018, July 6-11, 2018, in Ostend, Belgium. Travel expenses will be the responsibility of the winner. Free registration at ClarinetFest® 2018 will be provided. If the winner is a clarinetist, he/she must be a member of the I.C.A. Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. The ICA will provide the clarinetists for the premiere performance.

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

$1,000 Prize

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

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


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

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

Instruments List

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

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

Group C:
1 Left-Hand Piano

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

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

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

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

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

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

Rosetta (here is the member list)

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

Information for Selected Works & Composers

For Category A & B

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

For Category C

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


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

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

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

 Tampa Bay Symphony
Summary:Orchestra composition competition
Deadline: 01 October 2017
Date Posted: 21 June 2017
Details: The Tampa Bay Symphony is announcing a call for scores competition for living composers. One score will be selected for performance on our Spring 2018 concert series* (performances April 29, 2018, 2:30pm in Clearwater, FL; May 1, 8:00pm in St. Petersburg, FL; May 6, 2:30pm in Tampa, FL). Finalists will be notified by November 1, 2017 and the symphony will read/rehearse the compositions by the finalists at rehearsal on Tuesday evening, January 16, 2018, 7:00pm. There is a cash prize of $1,000 for the winning composer provided the composer attends at least one of the performances in person. (Please review performance dates carefully before submitting.) Up to three finalists will be chosen to have their works rehearsed by the orchestra. Each finalist is eligible for up to $250 in travel reimbursement if they are available to attend the reading rehearsal on January 16, 2018.

Deadline for submission of materials: October 1, 2017 Finalists notified by November 1, 2017
Finalists must submit parts by December 1, 2017
January 16, 2018: reading/rehearsal of finalist compositions
February 1, 2018: announcement of selected composition for the Spring 2018 concerts*
April 29, May 1 and May 6, 2018 (Winning composer must attend at least one of the performances in order to receive the cash award of $1,000)

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

All interested composers at any stage in their career are eligible to apply. There are no age or citizenship restrictions.
The work must be composed after January 1, 2001.
Only one submission per composer will be considered at this time. Please do not send multiple works. No concerti will be considered at this time.
The work should not exceed 12 minutes in length.
Works that have been chosen as winners or finalists in previous years may not be resubmitted. Previous winners and finalists are encouraged to submit new works.

2017 – Season 30 – winner: Allen Molineux, Trifles
Link to TBS performance of 2017 winning composition:

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

Submission of all materials is electronic. Please send an email to Susan Rhein at using a subject line of TBS Composition Contest, including the following:

• PDF of the score of the submission
• PDF of program notes and performance history for the submission if it has previously been
performed. New works that have not been performed are also welcomed.
• Audio (.mp3) or video (.mov /.mp4) recordings of the work, or links to on-line recordings, if
available (This is not required, MIDI representations are acceptable.)
• A brief bio of the composer submitting the work with contact EMAIL address and phone number
• A $25 USD non-refundable application fee must be received by the Tampa Bay Symphony by October 1,
2017. This application fee can be paid via PayPal invoice or by mailing a check payable to Tampa Bay Symphony addressed as follows: Tampa Bay Symphony, ATTN: Composition Contest, PO Box 4653, Clearwater, FL 33758. Contact Susan Rhein at email address listed below to receive a PayPal invoice for the entry fee.

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

• Banners/Backdrops & Album Art Workshop

• Training, Mentoring & Apprenticeships

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

• Voice Coaching

• One to One Consultancy available

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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



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


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


Look back
on Time
with kindly

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

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

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

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


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

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

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

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

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

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

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

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

To ask questions about the competition, contact Shannon Shaker at:

The Sponsor
Kappa Kappa Psi, Beta Omicron is sponsoring this project. For information on how to be involved, including donating to the project, contact Aliyah Qualls at:
For all additional questions, please contact Shannon Shaker at:
Submission Guidelines
Complete the following google form to submit your entry
2) Email a .pdf of your score (name omitted) and audio file to Shannon Shaker at:
*The deadline to submit is 5:00 pm MST on November 1st, 2017

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

Duration 6 - 8 minutes in length

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

Type of Work: Stand Alone Concert Piece, to be performed at the Fifteenth Annual Big 12 Trombone Conference, January 12 – 14, 2018 at Texas Tech University, Lubbock, TX. Charles Vernon, Bass Trombonist of the Chicago Symphony, is the scheduled feature artist for the conference.

A $1,000.00 Cash Prize will be awarded to the winning composition.

Additional awards may be granted at the discretion of the contest adjudication panel.


Summary:Duo Call for Scores
Deadline: 20 September 2017
Date Posted: 24 May 2017
Details: Call for scores, TILT ENSEMBLE (Electric TILT Duo)
TILT Ensemble is pleased to announce a Call For Scores in order to expand his repertoire with new works by contemporary composers. This Call for Scores wants to expand the repertoire of the ELECTRIC TILT DUO (Antonio Bellandi, Electric Piano - Sergio Sorrentino, electric guitar).
The scores must to be write for Electric Piano (Fender Rhodes) and Electric Guitar.
Pieces can involve also electronics or tape. Submitted pieces may be no longer than 12 minutes in duration. There is no minimum duration.

Composers may submit multiple works using a single email. Submissions must be original through compositions, not arrangements. Composers of any age or nationality are invited to submit scores. There are no restrictions on the works submitted, pieces can be composed specifically for this project and Electric TILT Duo, and also pieces may have been previously performed, recorded, and/or awarded.

We will select a maximum of three compositions, which will be performed by the TILT Ensemble before the end of 2017.
The three winner compositions will be performed in the Palace of the Captain of Uzzano (PT), the place where Giacomo Puccini composed the second and third act of Bohème. TILT Ensemble will produce a CD including the three winner compositions. The recording will be published with an historical contemporary music international record label. The first one winner composition will be published by DA VINCI EDITIONS, Osaka.
There is a fee of 20 euro.
Each composer can participate with more works (up to three) paying only one fee.

The fee must to be payed by bank transfer to:
Accademia Musicale Uzzanese “G. Puccini”
IBAN: IT31H0835870550000000760247

The compositions that will be winners will be performed by the TILT Ensemble during the 2017 Concert Season and the firstt one will be published by DA VINCI EDITIONS, Osaka.
TILT Ensemble will make a CD with the three winner compositions. The recording will be published with an historical contemporary music international record label.

The work should be sent, by e-mail to and to
no later than september 20, 2017

The e-mail must contain:
Brief biography of the author (Max 300 characters)
Contact information of composer, in a separated file (e mail address, telephone, etc.)
Score in PDF format (score must to be without name of composer)
Short description of the piece.
A copy of the receipt for the payment of the entry fee.

For informations:

 Bromley Symphony Orchestra
Summary:Orchestra Competition
Deadline: 24 March 2018
Date Posted: 17 May 2017
Details: The BSO committee is seeking a new work for full orchestra to celebrate our 100th anniversary. (Works previously performed in concert will not be considered.) The adjudicator will be Professor Robert Saxton, whose decision will be final. He will choose the winners from the top three finalists, as voted on by the orchestra.

The winner, who must be a UK resident, will receive £1500. The winning work will receive its first public performance in our 2018-2019 season (concert planned for March 2019). The second prize will be £500. The committee reserves the right to select additional works for performance and may assign additional prize money for this purpose.

The work must be ‘celebratory’ in nature, no longer than 12 minutes in duration and composed for symphony orchestra including triple wind (with normal doublings available). Please limit percussion to a maximum of three players, and check with us at the email address below before including unusual instruments, electronics etc. For level of difficulty, composers should be guided by excerpts on our website.

Scores must be submitted by 24th March 2018. Electronic realisations may be appended. Shortlisted works will require parts prepared and printed for a workshop in June 2018. The recording made of each of the finalist’s works at the end of the event will be sent to the finalists, but the rights will remain with the Bromley Symphony Orchestra. At the workshop final, our playing members will vote on the shortlisted works, so it is crucial that parts be prepared to a high standard, including rehearsal marks and/or bar numbers. The works will be judged on musical merit as well as on practicality of performance. They will all be conducted on the day by our conductor, Adrian Brown.

Scores may be submitted from our contact form, by email (PDF attachment) to competition (at) or by post to PO Box 1065, Bromley BR1 9QD.

Please include contact details (name, email and phone number), a brief biography and a programme note for your work. However, personal details must not appear on the score or parts, as the works will be judged anonymously.


 7th Harerubeke International Composition Competition (International Composition Competition Harelbeke)
Summary:Wind Orchestra Competition
Deadline: 01 April 2018
Date Posted: 10 May 2017
Details: For the seventh time, the International Composition Competition Harelbeke will be organized in Harelbeke (Belgium). The aim of this competition is to encourage talented composers to integrate the achievements of contemporary music and current composition techniques into wind orchestra compositions.

Contemporary music, more specifically in the sector of music for wind and percussion instruments, deserves permanent backing. As town council, our aim is to motivate composers and performers and to provide a window onto the world. Building a musical bridge between international communities is essential for the future of mankind. This competition contributes to this goal.

A unique feature of this competition is that the works of the three finalists will be performed live by the wind orchestra Koninklijk Harmonieorkest Vooruit Harelbeke.

General provisions

1. The competition is open to composers of all ages and from all countries.

2. Each composer can enter only two works.

3. The duration of the work must be between 15 and 25 minutes (to be stated on the score).

4. The submitted works must be original in every respect: only unpublished works that have never been performed in public nor broadcast on radio or television and that have never won a prize at any national or international competition will be accepted. Adaptations of existing compositions or rearrangements or re-orchestrations of known tunes or folk songs will be rejected.

5. Only music compositions for wind orchestra will be accepted. Works for brass band or chamber music groups will not be accepted.

6. Compositions using electronics will not be accepted.

7. As the three shortlisted compositions will be performed live during the final, the orchestration of the work must not exceed the following instrumentation:

Piccolo; Flute 1&2; Oboe 1&2; English horn; Clarinet Eb; Clarinet Bb 1,2&3; Bass Clarinet Bb; Contra-Alto Clarinet Eb; Contrabass Clarinet Bb;

Soprano Saxophone; Alto Saxophone 1&2; Tenor Saxophone; Baritone Saxophone; Bassoon 1&2; Contrabassoon;

Cornet Bb 1&2; Trumpet Bb 1,2&3; French Horn F 1&2, 3&4; Tenor Trombone 1&2; Bass Trombone; Euphonium Bb; Tuba C;

Double bass;

Timpani; Percussion (max. 6 parts);

Piano; Harp

The works will be performed by an orchestra from Harelbeke with this instrumentation.

8. The score must bear a title and a pseudonym instead of the composer’s name. The submitted score must be accompanied by a scanned application form and a signed declaration of authenticity. The application form can be downloaded from the competition’s website:

9. The name of the composer must not appear anywhere on the score. Nor may the score contain any details that might lead to the identification of the composer.

10. The score should meet the following requirements: (1) realized in digital format (music notation software) and (2) submitted in PDF-format by uploading it onto the website

11. The composer must also include a short written preface to explain the work. If the composer has used an alternative music notation system, it must also be explained.

12. The jury reserves the right not to award all three prizes if the desired level is not reached.

13. The organization will preserve two copies of the score: (1) to be kept in the archive of the competition in Harelbeke, (2) to be kept in the music library of MATRIX in Leuven (

14. The jury will announce the finalists on Monday 16 April 2018.

15. The finalists will be asked to attend a rehearsal with the orchestra on the day before the final. This rehearsal will take place in the presence of the jury members. Each finalist will have one hour to work with the orchestra. Travel expenses will be reimbursed by the organization. Hotel and subsistence expenses however must be borne by the composer.

16. If a prize-winning composer decides to have his work published by a music score publisher, the score must carry the words: with this work the composer was a finalist at the 6th International Composition Competition Harelbeke (Belgium).

17. If one of the finalists is disqualified, another candidate will be selected to take his or her place.

18. The jury’s decisions are final.

19. Entries submitted after the deadline will not be accepted

20. By entering the competition the candidate accepts the competition rules.

Entry to the competition
1. The competition is open to composers of all ages and from all countries. Each composer can enter only two works.

2. All inscriptions are done using the website

3. The submitted score must be accompanied by a scanned application form and a signed declaration of authenticity. The application form can be downloaded from the competition’s website:


Summary:Piano call for scores
Deadline: 30 October 2017
Date Posted: 10 May 2017
Details: OPUS DISSONUS is proud of offer the third edition of a piano composition competition open to composers of any nationality and age. We offer a world première recording of at least 3 works and award fees of (BRL) R$ 1000 +
special designed trophy for first place, R$ 500 for second an R$ 500 for third place and interviews with all award-winnings abut their works.

All the submissions are made by internet, and the deadline for sending the PDF files is October 30th, 2017

 Ruth Watson Henderson Choral Composition Competition
Summary:Choral Competition
Deadline: 01 November 2017
Date Posted: 10 May 2017
Details: About Ruth Watson Henderson and the Competition
One of Canada's foremost musicians, Ruth Watson Henderson is renowned internationally both as a composer and pianist. Her works are acclaimed, performed, and recorded worldwide. The Ruth Watson Henderson Choral Competition was established in 1996 to recognize Ms. Watson Henderson’s invaluable contribution to the art of choral music. Ms. Henderson is very pleased to encourage the contribution to Canadian choral music that the competition provides, and appreciates the work of Choirs Ontario who administers this program.

The Ruth Watson Henderson Choral Composition Competition is a biennial contest for new choral works with categories alternating between pieces for treble voice choirs and pieces for mixed voice adult choirs. The competition exists to provide Canadian composers with the opportunity of contributing to Canada’s rich choral tradition through the writing of original choral works. The winning entry receives a premiere performance with one of the Ontario choirs and a cash award of $2,000.00.

Composition Guidelines for the 2017 Competition (SSA Composition)

• The composition must be an original work for SSA choir 4 – 6 minutes in length. It may be a cappella or accompanied by piano.
• Texts may be sacred or secular and can be in languages other than just English and French (languages that would be familiar to most singers are preferred, especially for SSA compositions). The text must be either original or known to be in public domain, or not currently under copyright but with written permission of the copyright holder. In this case, a copy of the written permission must be submitted with the entry.
• All submissions must not have been previously commissioned, published or performed and must have been composed within the last two years. Arrangements of previously composed works are not acceptable.
• The composer shall retain the copyright of the work.
• Previous award winners are not eligible.

Submission Guidelines:

• Entries should be sent to (electronic submissions are preferred, but if you wish to submit your application by mail, please send it to Choirs Ontario office - 626 Bathurst Street, Toronto, ON M5S 2R1)
• Scores must be postmarked no later than November 1, 2017.
• More than one entry may be submitted, but each entry must be accompanied by a separate entry form and a fee of $25.00 (CDN).
• Four clearly legible copies of the score must be submitted, preferably in pdf format. Scores will not be returned.
• The composer's name must not appear on any score.
• The Award winner will be announced in December, 2017. The Toronto Children’s Chorus, conducted by Elise Bradley, has been selected to perform the winning composition at the spring of 2018.


Composers must be Canadian citizens or permanent residents currently residing in Canada. There is no age limit.


 Celebrate Asia Composition Competition
Summary:Orchestra Call for Scores
Deadline: 17 November 2017
Date Posted: 03 May 2017
Details: The Seattle Symphony’s Celebrate Asia Composition Competition seeks to recognize emerging composers who are interested in Asian culture, music and traditions. The winning composition will be premiered by the Seattle Symphony at the annual Celebrate Asia concert at Benaroya Hall.

Celebrate Asia originated in 2009 through collaboration with local Asian leaders who were keen to strengthen bonds with the broader community through a cultural celebration, and was brought to life through partnerships with local community groups to honor and celebrate Seattle’s Asian community.

• Works must have Asian influences (for example: Asian folk melodies, Asian stories and legends, Asian traditional instruments).
• Works must be new, original and accessible.
• Works should be 3 to 6 minutes in duration. (There will be 30 minutes allotted to rehearsing this new work.)
• Works should be for orchestra or chamber orchestra with instrumentation no larger than 3333 - 4331 – T+3 – hp – str. Woodwind doublings are allowed.
• The submitted work must have had no prior public performances in the U.S.
• Interested composers should submit:
o A legible, bound, full score
o A recording of the piece on a CD (midi-format is OK)
o A clear description of the composition’s Asian influence(s)
o A biography, with current address, email address and phone number
o If selected, professionally prepared parts and two scores will be required 90 days prior to the first rehearsal


 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.

 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.

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: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.


 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.


 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.


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.


 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:

 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.

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!

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:

 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


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.


 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".

 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?

 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:

 Andrew S. Way Music Foundation
Summary:Funding Opportunity
Deadline: None
Date Posted: 31 August 2016
Details: The Andrew S. Way Music Foundation is committed to the composition, education, and performance of new music. The process by which this is achieved has two major components: first the grant selects composers to write new music (for a school or organization), then music educators apply for the opportunity to perform the music with their ensembles in live concert. When the two are matched, the foundation will also help facilitate and encourage communication between the composer, the educator, and the ensemble. Currently accepting all applicants from the Bay Area.

The Andrew S. Way Foundation welcomes composer and school/organization applicants from all walks of life and musical paths, and is dedicated to supporting all types of music.

 New Music Message Board
Summary:Opportunity to connect with performers
Deadline: None
Date Posted: 31 August 2016
Details: This is a new group dedicated to connecting composers of new works with performers of new music. Composers can post whatever they feel comfortable. Performers can search for the desired instrumentation with the search tool, and hopefully curate some performances. Please don't hesitate to post as many works as you would like.

The group is in the formative stages, and will hopefully grow from a Facebook group to a professional website and online community. So, please share the group with anyone who may be interested from anywhere in the world!!

 BBC Introducing
Summary:Showcase Opportunity
Deadline: None
Date Posted: 12 April 2016
Details: Whether you’re a performer or composer writing music under any classical style BBC Introducing is a fantastic platform to get involved with. Introducing has been supporting unsigned, undiscovered and under the radar since 2007, giving new UK artists a chance to get their music out to new fans. To date the Uploader has had from over 150,000 artists and have seen many of them go on to achieve fantastic milestones in their career from recording a session at Maida Vale to headlining Glastonbury!With BBC Introducing the process is simple; you go to and share your music via the BBC Introducing Uploader. A team of presenters and producers here at Radio 3 will then listen to your music and choose a selection of the best compositions and performances to play on the station.From performing at a BBC showcase to being approached by other composers and writers, there are lots of opportunities that could you could send your music to us via the BBC Uploader and, in some cases, be played on the radio just hours later. If you’re an emerging musician and looking for new opportunities then head over to the for opportunities on Radio 3 and beyond.

 Sorodha Composition Competition 2016: String quartet
Summary:String Quartet Call
Deadline: None
Date Posted: 04 November 2015
Details: Sorodha is proud to announce the fifth edition of its annual composition competition.

For this festive edition, we welcome compositions for string quartet and have the utmost pleasure to be able to work with the Tana String Quartet on this occasion. Their leader, Antoine Maisonhaute, was one of our judges last year, and this year they all join us as performers.

The submission deadline is Monday 29th of February 2016, and the entry fee is € 10,00.

The jury will select five works, which will be executed at a public concert on Saturday 23rd of April 2016 by the Tana String Quartet, after which the jury will award two prizes (€ 1,000.00 and € 500.00).

The winning piece will be performed by the Tana String Quartet at the Académie du Festival d'Aix-en-Provence on the 20th of July, 2016 (details forthcoming).

Please keep following checklist in mind before sending us your score:
• is your work written for string quartet (2 violins, viola, cello; no electronics, either)?
• was it originally written for string quartet?
• has is not been performed, broadcasted or prized in another competition before?
• is your score anonymous?
• will we be able to tell it apart from the others based on the title only? Ok, then; otherwise please add a motto, code or other distinctive sign.
• is it formatted as PDF file and A4 pages?
• does your second PDF file contain all the necessary data?
• has the entry fee been paid by PayPal (an extra € 1 will be charged to cover the transfer costs)?
• have you checked the time zone if filing on the last day before the deadline from elsewhere than Western Europe?

Please take notice of the fact that we cannot accept submissions by regular mail, only by email!

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.


 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:

 11th Joan Guinjoan International Prize for Young Composers
Summary:Prize for ensemble
Deadline: None
Date Posted: 31 October 2012
Details: 1.The contest is open to composers of every nationality under the age of 35 at December 1st, 2012. Former winners of this award are not allowed to submit again.
2.Each participant may submit an unlimited number of works, which cannot previously have been published, premiered or commissioned. Works performed in the educational context of conservatories and schools of music will not be considered premieres.
3.The work, in a contemporary style, should be 10 to 15 minutes long.
4.The work must be written for an open formation of 6 to 15 instruments, with optional electronics, chosen from among those in an orchestra, piano, accordion, guitar, voice and typical jazz –electric guitar, bass and keyboards– instruments, “cobla” instruments, and instruments of early music: harpsichord, recorder, viola da gamba, cornet, sackbut, early bassoon and plucked string instruments. It is also possible to include a small choir of four voices (SATB, 4-4-4-4), which will be considered as four different instruments. There may not be more than two instruments the same, except for violins, for which there is a maximum of 10, violas and cellos, for which there is a maximum of 4.
5.The composer must submit six copies of the score and one registration form for each work presented. The work must be written and printed with a notation software which allows automatic extraction of parts, or the participants must commit to send the parts in case of being winners. Once the winner has been chosen, the composers may collect 5 copies of their works within one month from date of the award. One copy will remain in the archives of the School.
6.The amount of the award is 3.000 €. The chosen work will be premiered by the Escola Superior de Música de Catalunya with the option to be professionally recorded on CD by the School.
7.Apart from the winning work, the jury may decide to give honorific mentions to other works submitted which are considered of special interest. The works worthy of this distinction will be premiered together with the winning work.
8.The Escola Superior de Música de Catalunya will have publishing and distribution rights to the score, the CD or any other format of the winning work.
9.All written or audio-recorded editions of the winning work will be marked “Premi Joan Guinjoan de l’Escola Superior de Música de Catalunya, 2012”.
10.The jury will be made up of five composers chosen from the Department of Theory and Composition of the School. The names of the members of the jury will be announced once the award decision has been made public. Their decision may not be appealed. The decision will be announced before January 10th, 2013.
11.The deadline for submitting scores is December 1st, 2012.
12.The works will be submitted under pseudonym.
2nd Prize:Euro 3000
Age Limit:35
Duration:6 to 15 minutes

 C4 Ensemble
Summary:Call for choral scores
Deadline: None
Date Posted: 18 September 2012
Details: The C4 ensemble invites composers to submit scores for chorus and electronics for possible future performances. More details can be obtained from the ensemble via the link listed above.

 North/South Consonance
Summary:call for scores (various combinations)
Deadline: None
Date Posted: 20 April 2011
Details: - All composers are eligible for consideration
- Solo, chamber ensemble and chamber works up to 18 performers will be considered
- Vocalists, percussion and/or electronics are acceptable
- One work will be selected for recording on the North/South label
- $25 non-refundable fee per composition submitted required
(Checks must be negotiable through a US bank)

Complete submission guidelines posted at

Mail submissions to

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