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electro acoustic Competitions & Call for pieces

 IL SUONO DELLE LINGUE
Summary:Acoustic Call
Deadline: 31 August 2019
Date Posted: 22 May 2019
Details: TEM - Taukay Edizioni Musicali and Delta Produzioni Associazione Culturale hereby open a call for works for acousmatic music composers dedicated to the sounds of languages and dialects.

The purpose of this call for works is to identify acoustic material related to the sound of words. We are looking for works that contain the specific phonemes of the language spoken by the composers, not necessarily set to music or harmonized, in order to create a tapestry of sound based on the use of words and their elaboration.

A selection of the best material received will be published by TEM - Taukay Edizioni Musicali. We also intend to organise a concert where a selection of the best compositions will be performed.

No participation fee is required.

More info:
Web Site:www.taukay.it/data1/index.php?...

 MISE-EN_PLACE Bushwick
Summary:Sound art/electroacoustic call
Deadline: 04 July 2019
Date Posted: 22 May 2019
Details: MISE-EN_PLACE Bushwick will host electro-acoustic music concerts during Bushwick Open Studios 2019 (9/20-9/22). Selected composers/artists are not required to attend all the events unless they need to be a performer and/or operator. However, everyone is encouraged to join us, and everyone will receive FREE housing!

All events will be free and open to the public.

Please note that multiple submissions are welcome, but each must be submitted as a separate entity.

CATEGORIES*
1. Acousmatic/Fixed media work (from mono to 8.1 surround sound)
2. Any musical instruments with electronics (1-7 musicians with/without a conductor)
3. Audiovisual music
4. Laptop improvisation & live coding
*All durations are welcome.

REGISTRATION/PARTICIPATION FEES
: No fee

ACCOMMODATIONS
: All participating composers will receive a shared accommodation at no cost.

APPLICATION FEES
: $25

Deadline
: July 4, 2019 (EST 11:59PM)

Result Notification
: July 20, 2019
Entry Fee:$25
Web Site:place.mise-en.org

 Espacios Sonoros 2019
Summary:Acoustic Call
Deadline: 16 August 2019
Date Posted: 22 May 2019
Details: Espacios Sonoros and Jornadas de Audio y Acústica de Salta are pleased to announce their open call for multichannel acousmatic works. Espacios Sonoros 2019 will take place at Palacio Zorrilla (Universidad Nacional de Salta) on October 1-5, and will feature a six speaker setup. The jury will announce the selected works on the last week of September. Submited works should be between 5 and 15 minutes long. Ambisonics B-format is preferred, but not required. Composers may submit one work each.

No submission or registration fee will be charged.
The composers presence at the concerts is encouraged but not required.

Deadline: 8/16

More info:
Web Site:en.espaciossonoros.com.ar/2019...

 CEMIcircles 2019-2020 Call for Scores
Summary:Electroacoustic Music Competition
Deadline: 15 June 2019
Date Posted: 15 May 2019
Details: The Center for Experimental Music and Intermedia (CEMI) at the University of North Texas invites electronic music composers of all nationalities and ages to submit works for the CEMIcircles Concert Series 2019-20. CEMI is an interdisciplinary center focused on music and arts technologies, hosted within UNT’s Division of Composition Studies. CEMI fosters the integration of electroacoustic music, live performance, video/film, plastic arts, and theater. Since its inception in 1963, CEMI has evolved into a unique creative environment, world-renowned for innovative works and musicians.

The 4thCEMIcircles Festival will showcase recent computer music works on October 18 and 19, 2019. Special emphasis will be given to multichannel works for 36 or fewer loudspeakers, including Ambisonics (up to 5th order), VBAP, Octaphonic, etc. CEMIcircles is also pleased to feature three ensembles in this call for works, the Amorsima Trio (violin, viola, and cello), the Third Inversion Reed Trio (clarinet, bassoon, oboe), and the NOVA ensemble (flute, piano, percussion, alto, soprano, clarinet, oboe, bassoon, violin, viola, and cello). Works written for the full complement of instruments or for subsets of a given ensemble will be accepted. Works submitted for consideration by the ensembles must include a significant electronic element. Works may be submitted for instruments not included here, but performance is not guaranteed unless composers provide their own performers.

Submitted works will be curated and selected by the CEMI personnel, with the assistance of CEMI Director, Panayiotis Kokoras. The concert will take place in the Merrill Ellis Intermedia Theatre, featuring a 36.2 sound dome (see info below), three-screen semi-immersive HD video projection, and full stage customizable lighting including “smart light” units.

One submission per composer

Submission Fee: none

Attendance is not required but encouraged

Dates: Friday, October 18 and Saturday October 29, 2019

Deadline: Saturday, June 15, 2019
Web Site:cemi.music.unt.edu/event/cemic...

 PRIX CIME 2019
Summary:Electroacoustic Music Competition
Deadline: 31 May 2019
Date Posted: 15 May 2019
Details: Deadline for Submissions is May 31, 2019


Eligibility
The competition is divided into two categories:
• Category 1: Prix CIME – Open to all composers regardless of age.
• Category 2: Residency Prix CIME – Open to all composers born after December 31, 1984.


Competition Guidelines
1. The competition is open to all regardless of gender, nationality, affiliation and irrespective if your country of residence is a member of ICEM.
2. Applicants may submit only one composition.
3. Only works written within the last 5 years will be considered.
4. Anonymous submission is required.
5. There is no duration limitation
6. There is no entry fee.
7. Open to all forms of electroacoustic music including:
1. fixed audio
2. instrument(s) and electronics (fixed and/or live)
3. video music
4. sound art and new interfaces
5. work in progress will be not considered.

Web Site:www.cime-icem.net/prix-cime-20...

 Electroacoustic Barn Dance Three Day Festival of Electronic Music & Art
Summary:Electroacoustic Call
Deadline: 15 June 2019
Date Posted: 17 April 2019
Details: Call for Scores 2019

The Division of Music at Jacksonville University in partnership with Jacksonville Dance Theatre and Space 42 are pleased to host the Ninth Annual Electroacoustic Barn Dance, a three-day festival of electronic music and art, to be held November 14-16, 2019 on the campus of Jacksonville University and Space 42 in Jacksonville, Florida. This year’s festival will feature Andrea Cheeseman, clarinetist; Thomas Dempster, bassoon; Sarah Jane Young, flutist and Tony Steve, percussionist. Composers are encouraged to submit solo works for all featured artists and duo or trio works for Andrea, Tom, Sarah and Tony.

Music Submissions

Any composer may submit up to two works for tape alone or instrument(s) and tape or electronics up to 8.1 channels, and video for consideration. Applicants are required to bring their own performers when not submitting works for the featured performers. Works in progress will be considered if a substantial part of the piece is completed. You will need to complete a submission form for each work. Accepted composers are required to attend the festival for their work to be performed.

Music Submission Form

Afterhours Submissions

Artists or groups interested in playing an extended set (maximum 20 minutes) during the afterhours should submit with the form below.

Afterhours Submission Form

Paper Submissions

Technical and research papers, lecture demonstrations, and workshop submissions that deal with music/multimedia and new technology are encouraged. Paper sessions are 20 minutes, including Q & A, each. Presenters may submit a maximum of two proposals. You will need to complete a submission form for each paper/presentation. Accepted presenters are required to attend, and (of course) present their work at the festival.

Paper Submission Form

Installation Submissions

We welcome submissions of any standalone or interactive installations with electronic or electroacoustic audio components. Please describe all space requirements and expected needs in the form below, though plan to bring all gear required to setup your installation.

Installation Submission Form

Diversity Statement

All works and papers will be given equal consideration, regardless of the age, race, gender, sexual orientation, or nationality of the composer/presenter. The EABD strives to create a balanced event of contemporary electroacoustic music from the diverse range of composers/presenters who submit.

Performers

Andrea Cheeseman is a clarinetist and teacher living in the Blue Ridge Mountains in Boone, North Carolina. Throughout her career, she has been committed to playing good music and collaborating with inspiring people who challenge her.

A versatile performer, Cheeseman frequently performs as a soloist and chamber musician. Although she regularly performs traditional repertoire, she is an advocate of new music and is a sought-after performer of electroacoustic music written for clarinet and bass clarinet. Wishing to promote electroacoustic music, she has toured extensively, giving recitals and masterclasses throughout the country. Additionally, Cheeseman has been a featured performer at festivals such as the Third Practice Electroacoustic Music Festival and the Electroacoustic Barn Dance and has appeared at SEAMUS (Society of Electroacoustic Music in the United States) conferences. She has been described as “a skilled performer with an ability to connect to the audience. And comfortable in her own skin, she has the uncanny ability to slide into the soundscape as if she were physically part of it.” Cheeseman has premiered pieces by today’s leading composers and is recording her debut album to be released Fall 2018.

Since 2009, Andrea has served on the faculty at Appalachian State University where she teaches studio lessons and a methods course as well as coaches chamber music. Prior to her appointment at ASU, Cheeseman was on the faculties of Delta State University, Alma College and Hillsdale College. Cheeseman earned the Doctorate of Musical Arts and Master of Music degrees in clarinet performance from Michigan State University and the Bachelor of Music degrees in clarinet performance and music education from Ithaca College.

When not teaching or performing, Cheeseman spends her time gardening, swimming, practicing ashtanga yoga and perfecting her kimchi recipe.

http://cheesemanclarinet.org

Thomas Dempster (or Tom) is a bassoonist, composer, and educator living in the hills of central Arkansas. He has performed at previous SEAMUS, College Music Society, and SCI conferences as well as at EABD, the Manchester University New Music Festival, and the University of Tennessee Contemporary Music Festival. He has previously performed with the Wilmington Symphony Orchestra, the Fayetteville Symphony Orchestra, the Danville Orchestra, the Greensboro Philharmonia, the Florence Symphony Orchestra, and the Winston-Salem Symphony Orchestra. He currently regularly performs with the Arkansas Symphony Orchestra in Little Rock, AR. Tom studied bassoon with Michael Burns at the University of North Carolina at Greensboro and had additional instruction with Kristin Wolfe-Jensen, Peter Simpson, and William Winstead.

As a composer, Tom’s works have been performed in 36 states and 15 foreign countries and can be found and/or heard on Navona Records, MusicSpoke, Potenza Publishing, and Quiet Design Records. He has received honors and accolades from ASCAP, BMI, Ithaca College, the South Carolina Arts Commission, the South Carolina Music Teachers Association, and a consortium of other nice people and institutions. Tom holds degrees in music composition and performance from the University of North Carolina at Greensboro (BM) and the University of Texas at Austin (MM, DMA), where his mentors have included Russell Pinkston, Eddie Bass, Kevin Puts, Dan Welcher, and Don Grantham. He has held teaching positions at UNC-Greensboro, Claflin University, South Carolina State University, and the Governor’s School of North Carolina. He is the coordinator of music studies and director of bands at the Arkansas School for Mathematics, Sciences, and the Arts, a campus of the University of Arkansas, where he teaches world music, music theory, private instruction, Blues and Rock, and folk music and acoustical physics.

When not otherwise occupied, Tom enjoys wrangling his beagle, hiking, and making glass art. www.thomasdempster.com

Tony Steve (b.1959) teaches percussion and composition. He has performed with the Jacksonville Symphony (member 13 years), Israeli Festival Orchestra, Glimmerglass Opera Orchestra, Hartford Symphony, North Eastern Pennsylvania Symphony, Greenwich Symphony, and Bridgeport Symphony as a percussionist. He has toured with “A Chorus Line” in Europe, appeared in Korea as marimba soloist with the Brooklyn Percussion Ensemble, and performed as percussionist at Madison Square Garden for “ A Christmas Carol”. In addition, he has worked with Henry Mancini, Lou Rawls, Sheri Lewis and The Xaiver Cugat Orchestra. As a recording artist he has appeared on numerous recordings. The latest is performing the music of Robert Moore with Karen Adair on her solo release. The work “Sonnets from Assisi” is for marimba and soprano soloist in three movements. Other recording include, Release with Free Range, and Midnight Clear with Bob Moore. His works are published by Keyboard Publications. He is a Mike Balter Mallet artist. Professor Steve has also won numerous ASCAP writers awards and his music is performed in America as well as Europe and Asia.

Sarah Jane Young currently on faculty at the University of West Florida and Bethune-Cookman University, Dr. Sarah Jane Young has performed with the Tallahassee Symphony since 2005 and the Pensacola Symphony since 2007 after having begun her orchestral career with the Wallingford Symphony Orchestra in Connecticut. Afterreceiving her Master’s degree from Florida State University, Sarah Jane was selected as the Professor of Flute at the King Hussein Foundation National Music Conservatory in Amman, Jordan. While there, she served as Principal Flute with the Amman Symphony Orchestra and the Amman Sinfonietta, as well as the National Music Conservatory Woodwind Quintet. She has performed for both Queen Noor (Queen Consort of Jordan) and Princess Muna al-Hussein (Princess consort of Jordan). As a soloist and chamber musician, she has performed in Canada, England, Jordan, Costa Rica, Belgium, Italy, Bolivia, and throughout the United States. Performance venues include Sprague Hall, Woolsey Hall, Jerash South Theater in Jordan, Carnegie Hall, and Lincoln Center. She has had the honor to share the stage with such prestigious artists as Gunther Schuller, Christopher O’Riley, J. K. Simmons,and Renée Fleming.

As a chamber musician Sarah Jane currently performs with Bold City Contemporary Ensemble based in Jacksonville, Florida, a featured ensemble at the TEDxJacksonville 2018 Conference. She is a founding member of Traverso Colore, a baroque flute ensemble; founding member of the Coreopsis Wind Quintet winner of the Promising Young Artist Competition; founding member of Duo Velocipede, an adventurous flute and saxophone duo specializing in the music of Neil Anderson- Himmelspach; and founding member of award winning new music ensemble What Is Noise.

She has performed as a guest artist at the National Institute of Music in Costa Rica, Harford Community College in Maryland, Furman University, the University of North Carolina at Ashville and Chapel Hill, James Madison University, University of Missouri, Florida State University, Webster University, the Conservatory of Music in Bolivia, University of Florida, and Troy University. She served on faculty at the FSU Summer Band Camp, Montelione Music Camp, and is currently on faculty at the Blue Lake Fine Arts Camp.

While at Florida State she studied with Eva Amsler and completed her treatise: A Survey of Orchestral Excerpt Books for the Flute. She received her Bachelor of Music degree from the University of Massachusetts where she studied with Christopher Krueger.

Aside from the featured artists, EABD is unable to provide performers for submitted works.

Technical Details

Please indicate in your tech requirements your input/output needs, as well as what equipment you will be bringing and what you need from EABD.

Venue

EABD takes place on the campus of Jacksonville University. All performance spaces during the day take place on campus. After-hours concerts will occur at Space 42 in the Cork Arts District of Jacksonville.

Dates & Cost

Deadline: Scores/materials must be submitted by June 15, 2019. We will respond by July 15, 2019.
Entry Fee: None
Registration Fee: $50 per work accepted, not per composer/presenter or performer.
For More Information: msnyder3@ju.edu
Web Site:eabarndance.com/call-for-score...

 Giga-Hertz Award 2019
Summary:Electronic and Acousmatic Competition
Deadline: 31 May 2019
Date Posted: 20 March 2019
Details: Since 2007, the Giga-Hertz Award for electronic and acousmatic music has been jointly awarded by the ZKM | Hertz-Lab (formerly Institute for Music and Acoustics) and the SWR Experimentalstudio.

The Giga-Hertz Award is endowed with a total of 20,000 € prize money. The main prize for the lifetime achievement, which is €10,000, is proposed by the jury and is not selected from the entries. The two internationally oriented Giga-Hertz Production Prizes, endowed with 5,000 €, serve to initiate and promote new projects. In 2019, the focus will be on »machine learning«. Candidates are judged on the basis of a composition not more than five years old and a proposal for a new projected work. The focus of the Production Awards is to honor a work, and not a person. The competition is advertised publicly each year and is open to composers of all ages.

All compositions submitted should meet at least one of the following criteria:
• Compositions using live electronics
• Composition for fixed media
• Mixed music
• Concert installation
• Transmedial composition
• Experimental sound performance
• Interdisciplinary performance (with relevant music or sound components)

In 2019, the topic area of machine learning should be given particular attention in the selection of the working scholarship. In this context, artists should be motivated to apply in particular with musical works which have been realized through the use of machine learning. Alongside this, other works which have been realized with digital or electronic technology can also be submitted.

Prize Money
The Production Award consists of a project realization grant with which the award winners realize their submitted exposé at the ZKM | Hertz-Lab in Karlsruhe or the SWR Experimentalstudio. This includes technical support and guidance by the studio.

The realization grant covers the costs for travel to and from the location of realization, plus board and accommodation while working there. The scholarship is used to realize a work with electronics in a studio selected by the jury. The decision about where the work will be realized is taken by the jury on the basis of the aesthetic orientation of the composer and the specific details of the submitted project. The working period should not be less than two months at the ZKM | Hertz-Lab or two to four weeks at the SWR Experimentalstudio respectively. It is envisaged that the new work will be premiered at the award ceremony of the Giga-Hertz Award the following year and also broadcast on the radio. However, recipients of the production awards have no legal entitlement to specific services from the ZKM or the SWR Experimentalstudio or to the performance or radio broadcast of their prize-winning works or the new works resulting from the realization grants.

Entry Details
• Beginning of the online applications: March 4, 2019
• Application deadline: May 31, 2019!

Online Application: https://webform.zkm.de/ghp19/register

Please read the following information carefully before you enter.

If you have any questions or concerns, please contact: gigahertz@zkm.de.

The following are required for your application
• biography with details of artistic career (max. number of characters 1000 characters incl. spaces)
• portrait photograph of the artist (min. 300 dpi)
• description of the submitted work (work should not be more than five years old; max. 2000 characters incl. spaces), technical information on this work, and optional, the score and image files of the work
• project exposé about a new, yet to be realized work at the ZKM | Hertz-Lab, as well as technical information about this work
The application is online [Link]

Please note:
• The deadline for sending in the complete application is May 31, 2019.
• The work should not be more than five years old; it should not have already received any awards, or been previously submitted for the Giga-Hertz-Award competition.
• Employees of the organisers, sponsors, prizegivers, and patrons of the Giga-Hertz-Award as well as the members of the jury are excluded from participation.
• Please apply with only one piece regardless of the category!
• Incomplete applications will not be accepted.
• As soon as we have received all necessary documents, entrants will receive an email confirming their participation.
• All submissions are archived, with the participation the applicants accept the archiving.
• In the interest of all participants, the entrant (or a representative chosen by the entrant) should be reachable at the address stated on the application form.
• The prize winners guarantee that they will be present at the award ceremony on 23.11.2019 in order to receive their awards in person.
• If a work wins a prize, the material that was submitted will be used in the catalog, on DVD, CD, and/or the ZKM website. Therefore, we request participants to take great care in preparing the sound, image, and text material.
• The registered work should clearly make use of electronic/technical means. At least the use of electronic means should be documented.
• The awardees obligate themselves to realize the works produced within the framework of the award during a residency at the ZKM | Hertz-Lab or at the SWR Experimentalstudio respectively. The duration of the residency should not fall short of eight weeks at the ZKM or two to four weeks at the SWR Experimentalstudio respectively.
• The project proposal can be modified to match the production resources available at the ZKM | Hertz-Lab or the SWR Experimentalstudio.
• Works that do not comply with the above requirements will be removed from the competition and not presented to the jury!


Web Site:zkm.de/en/online-application-g...

 CALL FOR SCORES 2015 – Cello and Contrabass
Summary:Electroacoustic Call
Deadline: None
Date Posted: 20 May 2015
Details: 1. Call for Narrator/Speaker/Vocalist/Actor plus Electronic Music Scores (performer and "tape")

2. Call for "tape" pieces that have explicit political meaning

Narrator/Speaker/Vocalist/Actor plus Electronic Music Scores (performer and "tape")

Composer/performer Rodney Waschka II is looking for works for narrator or actor or speaker and electronic music fixed on two channels. Works will be considered for performance on the Arts NOW Series and elsewhere. You can read a review (http://www.cvnc.org/reviews/2009/022009/ArtsNow.html) by the Classical Voice of North Carolina of a concert of this type of music performed in February, 2009. Waschka has performed works by Alden Jenks, Pertti Jalava, Mansoor Hosseini, Stephen Pope, Allen Strange, Pauline Oliveros, Mara Helmuth, and others.

If you have composed such a piece or are interested in composing such a work, please contract me.

"Tape" pieces that have explicit political meaning

Pieces of this type are needed for programming for the Arts NOW Series.

Please contact me if you have a piece that you think might be appropriate.

Thanks.
Web Site:www.waschka.info/call_for_scor...