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 2018 BGSU Graduate Conference in Music
Summary:Competition with 3 categories
Deadline: 01 December 2018
Date Posted: 15 November 2017
Details: Moore Musical Arts Center, Bowling Green, OH

February 9-10, 2018

Our call for works extends to all current graduate students (master’s and doctoral) from any institution. Senior undergraduates with exceptional standing are welcome to submit with the guidance of a faculty member.

IMPORTANT: If you are a current BGSU student, any scores you submit must be anonymous and should not include any information that could personally identify the composer. If any personal information (composer name, bio, logo, etc.) is found on the score, the composer will be disqualified.

Applicants may submit up to two works for consideration. Each work should be no longer than twelve minutes. The instrumentation is open to solo and chamber works of any instrumental/vocal combination and works involving electronics (up to four channels).

Each work may fit into one category:

A) Works for any instrumentation for which the composer can provide ALL of the required performers

B) Works for 1-5 performers for which the composer cannot provide ALL of the required number of performers

• Works involving flute, clarinet, saxophone, trumpet, trombone, horn, tuba, violin, viola, cello, double bass, piano, percussion and soprano are more likely to be programmed in category B.

C) Works involving electronics may use up to 4 channels.

• Works submitted in categories A and B may also involve electronics (fixed media and/or interactive). Works involving video are also permitted.

The deadline for submissions is Friday, December 1, 2017. All applicants will be notified of their status by Friday, December 15, 2017. The composer’s attendance at the conference, dress rehearsal, and paper presentations is required. Do not submit if you cannot attend the conference.

Composers interested in submitting works should fill out the Call for Works Form.

For questions regarding the submission, please email Adam Kennaugh at adamkk@bgsu.edu. Please include “BGSU Graduate Student Conference” in the subject.
Web Site:bgsumuctgraduatestudentforum.w...

 CALL FOR SCORES: “The Beauty of the Line” - BNMI’s Tenth Season
Summary:Competition with 3 categories
Deadline: 15 December 2017
Date Posted: 09 November 2017
Details: Opens: November 1, 2017
Deadline: December 15, 2017

The Boston New Music Initiative is announcing a call for scores to be programmed as part of BNMI’s tenth season. Incorporated in 2010, BNMI aims to advance the careers of its members in the field of new music by serving as a resource for networking, professional development, commissioning, collaboration, and programming. The call is open for acoustic, electro-acoustic, and multimedia works. The competition is open to all composers with no restrictions.

The theme of BNMI's Tenth Season, which runs from 2018-2019 will be “The Beauty of the Line” and will aim to illuminate the relationship between visual art and music. We aim to program one (1) to three (3) works per category. All works submitted to this call will be considered by our collaborating visual artists as inspiration for a new visual art work. Works chosen for this will be presented at a gallery show/performance to take place in Spring of 2019. Works not selected by visual artists will be considered for inclusion on other BNMI concerts for the season.

Categories
• Category 1: Solos
Works for any solo instrument from BNMI’s core ensemble (see Instrumentation below).
• Category 2: Duets, Trios and Quartets
Works for 2-4 players: for duets, one of the instruments must be from BNMI’s core ensemble, for trios and quartets, two of the instruments must be from BNMI’s core ensemble (see Instrumentation below).
• Category 3: Ensemble
Works for 5-10 players, at least three of which must be from BNMI’s core ensemble (see Instrumentation below)

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

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

Submission Process
Composers are asked to use our submission portal to upload the following materials (each as separate documents). If this is your first time submitting, please review our submission guide prior to starting the submission process.

1. One (1) anonymous score, in PDF format only, of a representative work. .
2. A recording of the work (not required but encouraged)
3. An entry fee for each submission. The entry fee for this competition is $15 for Associate Members, and $5 for Full Members. Membership information can be found here.
4. An information sheet containing the following:
o Composer’s contact information (name, phone number, physical mailing address, email address, and website URL, if any)
o Title, instrumentation, and duration of the work
o Work’s date of completion and complete performance history
o Performing rights organization (ASCAP, BMI, etc.) associated with the work and/or composer, if any
o Composer’s year of birth (for program information only)
o Composer biography and program notes for the work (maximum 300 words each), to be used if the work is selected. BNMI reserves the right to truncate the program notes or composer biography if either exceeds the word limit.

Web Site:www.bostonnewmusic.org/submit/

 Call for Works - Interactive Traces
Summary:Audio Visual Call
Deadline: 08 January 2018
Date Posted: 26 October 2017
Details: The Interdisciplinary Centre for Composition and Technology (ICCaT) and the music department at the University of Liverpool present a concert of digitally-mediated works and improvisations as part of the annual Open Circuit Festival.

For this concert, we invite submissions for dynamic audiovisual scores that guide the production of sound & music on acoustic instruments. The score should include one or more of the following qualities:

• consists of digital visual media
• allows for some degree of performer agency
• is made visible to the audience
• includes the audience
• employs game-like elements and/or goals

Additionally, the work should be reasonably playable by performers of various skill levels; works will be performed in an evening concert as well as in a workshop for secondary school musicians.

Instrumentation is open and ideally indeterminate. Some specific instrumentation is available, including clarinet, saxophone, cello, and guitar. If the work is written specifically for another instrument, the composer is responsible for arranging the performances of the work.

Selected works will be performed and the audience will have a chance to vote for their favourite piece. The piece with the most votes will receive a prize of £150.
Works may be submitted via the form below in one or a combination of the following formats:

• Video of screen capture and/or performance (YouTube or Vimeo preferred)
• Standalone software for MacOS or Windows
• PDF documents (score, instructions)

Submissions will be evaluated anonymously.

The deadline to submit is January 8, 2018.
Web Site:www.iccat.uk/2018call.php

 EUBB Arranging/Composition Competition: Information for participants
Summary:Brass Band Competition
Deadline: 15 January 2018
Date Posted: 19 October 2017
Details: The deadline for submissions is Monday 15th January 2018 at noon.
Two bound paper copies of the score (separate parts will only be necessary for the second round - don’t include them until we ask for them!) should be dropped off before this deadline, at the front desk of the EUSA Activities Office at Potterrow with the sign 'Edinburgh University Brass Band - composition competition'.
Please fill in and attach a copy of the submission form that you can find at the end of this document.

A digital recording will have to be sent via email to eubrassband@gmail.com, or dropped off with the scores, clearly labelled. If either of these is impossible for some reason, get in touch with us (via email or facebook).
Anonymity of the composer/arranger will be maintained throughout the selection process.

The pieces should be
· composed/arranged specifically for brass band
· playable by a medium level amateur band (i.e. EUBB)
· enjoyable to play and listen to
· 3-7 minutes long

Judging criteria
· idiomatic writing for brass band
· successful application of compositional techniques/devices
· successful motif (melodic, harmonic or rhythmic, etc.)
· originality
· clarity in communication of the piece's ideas

This year's theme is based around the centenary of WWI in 2018, but you are free to compose/arrange anything you like.

The winner of the competition will be given the opportunity for further musical commissions with the band in the future.

Submission form (docx):
https://drive.google.com/open?id=0B5mvvarbqzWNNDBscEFJUzRXbVU
or as pdf:
https://drive.google.com/open?id=0B5mvvarbqzWNTkNRN1BpRFhLU0U
Web Site:docs.google.com/document/d/1Yr...

 MISE-EN MUSIC FESTIVAL 2018
Summary:Competition with 4 categories
Deadline: 15 December 2017
Date Posted: 19 October 2017
Details: ensemble mise-en is thrilled to announce the call for scores for the MISE-EN MUSIC FESTIVAL 2018! The festival has featured more than 30 pieces each year since 2014. We look forward to your submissions and to presenting even more works this year!

In order to participate, all selected composers are required to attend the festival. Selected composers will have the chance to collaborate with ensemble mise-en as well as other guest ensembles. This is a unique opportunity to share your work with not only a New York City audience, but also with visiting musicians and composers from around the world.

In 2018, two of the selected composers will also receive a residency opportunity at MISE-EN_PLACE Bushwick during the festival (June 27-30). We hope that you will join us next year!


Deadline: December 15, 2017 (EST 11:59PM)


Submission Fee: $25


The guidelines for the submissions:

1. Applicants may be of any nationality and age.
2. Selected composers must be present at the festival (June 27-30, 2018) in New York City.
3. You may only send one piece per category. Please note that multiple submissions are welcome, but each must be submitted as a separate entity.
4. Those composers chosen to write new works (CATEGORY #4) will be notified by January 1st, 2018. All other composers chosen to participate in the festival will be notified by February 28th, 2018.


CATEGORIES
1. Chamber Ensemble (2-8 musicians including a conductor) with/without electronics
2. Solo Instrument (any standard orchestral instruments) with/without electronics
3. Chamber Orchestra (up to 20-piece ensemble) with/without electronics
4. Proposal for a new piece (flute, clarinet, trombone, piano, percussion, violin and cello with/without electronics)*

*This category is for undeveloped works or works-in-progress. Selected works must be completed and submitted by mid-April 2018 for inclusion in the festival program.


IMPORTANT -- we will not accept any hard copies or email submissions. All submissions should be made via the following website. (festival.mise-en.org/submission)


If you would like to support mise-en music festival 2018, please consider:
- Liking our Facebook page (facebook.com/miseen)
- Following us on Twitter (twitter.com/ensemblemiseen)


If you have any questions, please check out our FAQ section (here). Don’t see your question answered? Please contact the ensemble manager Cheryl Krugel-Lee (manager@mise-en.org).


For more information about the previous festivals, please visit the following websites:
- Festival 2014
- Festival 2015
- Festival 2016
- Festival 2017


For more information, please visit the following websites:
- ENSEMBLE MISE-EN (http://ensemble.mise-en.org)
- MISE-EN_PLACE Bushwick (http://place.mise-en.org/bushwick/)
Web Site:festival.mise-en.org/submissio...

 COMPOSITION COMPETITION “TORRE DELLA QUARDA” – 2018
Summary:Competition with two categories
Deadline: 15 April 2018
Date Posted: 11 October 2017
Details: The composition competition “Torre della Quarda” is an international event; it will be a key element of Festival Internazionale di Musica di Savona and it will contribute to enrich an artistic proposal which has reached in 2018 its sixth edition. The principal objective of the competition is to give support to the composition of new musical pieces and to promote the creativity in the musical field. Our hope is to bring the best emerging talent of composition from all over the world to Savona.

The participation will be open to competitors from all the world countries, without limits of age, aesthetical trends and compositional styles. Our aim is to stimulate a dynamical relationship between an active audience and authors sensitive to creative innovation. The winners will receive their awards in a special ceremony during the Festival and their compositions will be played as concerts, parts of the Festival itself.

A further aim of the competition is to act as a significant occasion of cross interaction, overcoming generational and geographical divides. Different generations of composers will have the opportunity to meet and compare their various perspectives. The same will happen between musical schools of different origins, born from different cultures but sharing the universal language of sound.
The Musical Edition Da Vinci Publisher (https://amiosaka.com/da-vinci-classics/), with office in Osaka in Japan, will publish the winner musical piece. This support is further confirmation of the international profile of the competition.
For the 2018 edition the jury is as follows:

STEFANO GERVASONI (Composer, President of the Jury Panel)
PIERRE RIGAUDIÈRE (Musicologist – France)
ANDREA CAVALLARI (Composer)
GIORGIO COLOMBO TACCANI (Composer)
MARCO LOMBARDI (Composer)

Section 1 – Chamber music Formations admitted:
• Piano solo (also prepared with discretion)
• Solo Flute (the performer may use: piccolo, flute in C, flute in G)
• Solo Clarinet (the performer may use: Eb clarinet, clarinet in Bb, clarinet in A,
Eb alto clarinet, bassett horn, bass clarinet)
• DUO: Flute (piccolo, flute in C, flute in G) + clarinet (Eb clarinet, clarinet in Bb,
clarinet in A, Eb alto clarinet, bassett horn, bass clarinet)
• DUO: Piano (also prepared with discretion) + flute (piccolo, flute in C, flute in
G)
• DUO: Piano (also prepared with discretion) + clarinet (Eb clarinet, clarinet in
Bb, clarinet in A, Eb alto clarinet, bassett horn, bass clarinet)
• TRIO: Piano (also prepared with discretion) + flute (piccolo, flute in C, flute in G) + clarinet (Eb clarinet, clarinet in Bb, clarinet in A, Eb alto clarinet, bassett horn, bass clarinet)

The length of the composition must be between minimum 2 minutes and a maximum of 10 minutes.

Each candidate may present one or more compositions in the same category and/or different categories.

Section 2 – Orchestra composition
Instrumentation available. It is required the use of no fewer than 15 instruments:

2 Flutes in C
2 Oboes
2 Clarinets (Bb/A)
2 Bassoons
2 Horns in F
2 Trumpets (C/Bb)
Timpani (1 player – 3 timpani: 32'' - 28'' - 26'') Strings (7/6/4/4/2)

The length of the orchestra composition must not exceed 15 minutes and it has no limit of minimum length.

Not admitted production of compositions for solo instrument and orchestra.
People applying for section 2 can send one only composition.

It is possible to propose compositions for solo string orchestra.

In both sections (chamber music and orchestra) the use of electronic disposals is not permitted, at all.

Web Site:www.ensemblenuovemusiche.eu/en...

 The 2017 Annual Rudolph Award
Summary:Christmas Inspired Piece
Deadline: 30 November 2017
Date Posted: 11 October 2017
Details: As well as producing the renowned Young Composers Competition, the Young Composers Team also introduces a series of other smaller competitions each and every year. And with the closing date of the Young Composers Competition arriving in just 2 weeks, its time to open another offer for all the youthful composers out there to shine.

The ARA (or Annual Rudolph Award) is currently entering its second year, simply due to the success it had in 2016. In this contest, composers from all around the world, under the age of 25, are invited to submit a short piece (no longer than 4 minutes) that is inspired by the thought of Christmas. Entries open on the 7th of October, and close on the 30th of November 2017. On the 25th of December, the prize will be awarded to the composer whose piece is not only the nicest to listen to, but also the most reminiscent of Christmas.

Before submitting the registration form (scroll down), please read through the following Terms and Conditions:

0.0 Registration restrictions
0.1 Anyone aged 25 or under (by December 31st, 2017) is hereby declared eligible to register for the competition.
0.2 People of all countries and languages across the world are eligible to register for the competition.
0.3 Entrants under the age of 18 will require confirmation from a parent or guardian when submitting the registration form.
0.4 Registrations are only open between October 7th and November 30th. Any registrations submitted after that point will not be counted, and therefore will not be charged the standard registration fee (see 1.0).

1.0 Registration fees
1.1 The Annual Rudolph Award has a standard registration fee of €10, which must be payed directly before or after submitting the registration form.

2.0 Form of Entry
2.1a All entries to the competition will close on November 30th, giving contestants two months to enter their piece.
2.1c The selected winner of the award will be announced on December 25th, along with several honourable mentions. At this time, they will also receive an email with download instructions for their prizes (see below).
2.2 In order to submit a qualified entry, one must send in their score in two forms. First, they are asked to submit an audio file of the piece. This can be live recorded, digitally produced, or any blend of the two. Secondly, we also ask you to submit a score of the piece, in PDF form. Both of these files must be uploaded to the entrant’s registration form.
2.3 There is no set instrumentation for this competition. All entries are accepted, from piano solos to large orchestral pieces. Participants are recommended to follow whatever instrumentation suits them best.

3.0 Prizes
3.1 Prizes will be sent out to the award winner by December 31st, 2017, at latest.
3.2 In this competition there are no cash prizes. Instead, the main prize will include the following:
• FULL Native Instruments Symphony Series String Ensemble (€517.46)
• FULL Native Instruments The Gentleman Piano (€107.04)
• FULL Cubase Pro 9 (€100.92)
3.3 In total, the prizes for the Annual Rudolph Award add to €725.42.

4.0 Disqualification
4.1 Disqualification of your piece will occur if
a) it has been entered after the deadline on November 30th.
b) the audio file and score do not match the same piece.
c) you have not payed the standard registration fee.
4.2 If your piece is disqualified and you did not do any of these, please contact us immediately.

5.0 Submitting Your Entry
5.1 Within 48 hours of paying the standard registration fee, you will receive an email from us confirming your payment. If you don’t receive this email, or you have trouble submitting your piece, don’t hesitate to email us.


Web Site:youngcomposerscompetition.com/...

 MYO EMERGING COMPOSERS COMPETITION
Summary:Competition with two categories
Deadline: 20 December 2017
Date Posted: 11 October 2017
Details: MYO is hosting an Emerging Composers Competition, open to all unpublished composers under the age of 22 as of July 1, 2018. This national competition has a Choral Division and an Orchestral Division and MYO Members and Alumni are actively encouraged to apply.

Deadline: Wednesday, December 20, 2017 (All materials must be received by this date)

Please read this entire page before filling out the online application form.

Eligibility
Applicants must be under the age of 22 as of July 1, 2018. This is a national competition, open to all unpublished composers. There will be two Divisions:
1. Choral Division
2. Orchestral Division
Winners may be selected from each Division.

Composition Categories
Works submitted should be for one of the following ensembles:
A. SATB Youth Choir (high school students)
B. Symphony Orchestra (high school students)

Rules
1. Scores must be submitted in PDF form.
2. Your composition must be an original and unpublished work (no arrangements of existing works will be accepted).
3. A short written description of the composition outlining inspirations and important features.
4. A full score and a complete set of parts must be included in PDF form.
5. A private YouTube or audio file (digital or live) rendition must be included with application.
6. Only one composition will be accepted by the same composer.
7. The submitted work may have been previously performed, but can not have won any previous competitions.
8. The composition may not exceed 10 minutes in length.
9. The work may be one or more movements.
10. Submitted works may not be submitted again in subsequent years.
11. A completed online application and a non-refundable $25 application fee must accompany each composition.

Application Fee
There is a $25 non-refundable application fee due at the time of the application and submission of score.

Prizes
Finalists in each Division will receive a cash award and may have the composition performed by one of the MYO ensembles in the 2018–2019 season.
First Place: $500
Second Place: $200
Third Place: $100
The winning compositions will be announced by Wednesday, January 17, 2018.
The judges reserve the right not to award a prize in either Division.

Application
Please include the following items with the online application:
1. Full score and complete set of parts (PDF form)
2. A private YouTube or audio file (digital or live) rendition of the composition
3. Age Verification – Please provide proof of age. A copy of your birth certificate, passport, or driver’s license is acceptable.
4. $25 Application Fee (payable online through PayPal)
5. A short written description of the composition outlining inspirations and important features (250 words maximum).

APPLY FOR THE COMPETITION

Web Site:www.myo.org/myo-programs/emerg...

 2018 McMURRY NEW MUSIC PROJECT
Summary:Competition with 4 categories
Deadline: 01 December 2017
Date Posted: 05 October 2017
Details: FEBRUARY 5, 2018 7:30 PM

2018 Catageries

1. Unaccompanied Trumpet
Maximum length of 10 minutes

May be continuous or multi-movement
May use any combination of B-flat Trumpet, C Trumpet, and Flugelhorn
May use any combination of mutes
Please stay within standard range of chosen instruments (F#3 to C6)

2. Mallet Keyboard Solo
Maximum length of 10 minutes

May be continuous or multi-movement
May be written for 2, 3, or 4-Mallet Technique
May be written for Xylophone, 5.0 Octave Marimba, or Vibraphone
No additional instruments may be used

3. Multiple Percussion Solo
Maximum length of 10 minutes

May be continuous or multi-movement
May be written for conventional concert percussion instruments
May be written for non-traditional percussion instruments such as pipes, flower pots, etc.
Tape or Audio accompaniment may be used, but the requirement of manipulating live media is not allowed

4. Trumpet/Percussion Duo
Maximum length of 10 minutes

1 Trumpet Player/1 Percussion Player
May be continuous or multi-movement
May use any combination of B-flat Trumpet, C Trumpet, and Flugelhorn
May use any combination of mutes
Please stay within standard range of chosen instruments (F#3 to C6)
May be written for conventional concert percussion instruments, with the exclusion of timpani or chimes
May be written for non-traditional percussion instruments such as pipes, flower pots, etc.

Deadline

All materials must be received via email by 12:00 AM on December 1, 2017. Entries are to include the following:

• Full Score (PDF format)
• Individual Parts (PDF format)
• Sound File (MIDI preferred)
• Composer Bio
• Description of Composition

Please submit all materials to newmusic@mcm.edu. Confirmation of materials received will be sent within 72 hours of composer submission. Only complete submissions will be evaluated.

Description
The Music Department at McMurry University is dedicated to being on the forefront of musical innovation and supporting the development of new repertoire by established and emerging composers. The McMurry New Music Project seeks to engage the worldwide musical community in premiering new works and promoting projects to be added to the active repertoire. The McMurry New Music Project will actively promote the winning composers via the competition website and will include a link to the composer’s personal website. Utilization of social media resources will include Facebook, Twitter, Instagram, and YouTube with details about the winning submissions and professional quality recordings of winning works.

Contact
Please direct all communications to newmusic@mcm.edu. Correspondence will be made in a timely manner.




Web Site:academics.mcm.edu/music/newmus...

 KEEP COMPOSERS WEIRD
Summary:Studio Recording Opportunity
Deadline: 01 December 2017
Date Posted: 27 September 2017
Details: KEEP COMPOSERS WEIRD – A program for emerging composers held in Austin, TX the “Live Music Capital of the World”

KEEP COMPOSERS WEIRD program provides an opportunity for selected composers from around the world, ages 21+, to submit a newly written work that is to be rehearsed, recorded in a professional studio and performed at a concert in Austin, TX. In addition, for 5-6 days, each composer will participate in lectures, networking events and establish professional relationships with colleagues in the music and arts industry.

The program name draws inspiration from the city of Austin’s motto of “Keep Austin Weird.” Most composers do not have professional studio recordings of their compositions, and most who do, have subpar live recordings. With quality studio recordings there is an opportunity to place compositions in film, commercials, and radio. In Austin, a city rich in music and culture, these visiting composers will also have the opportunity to build relationships and broaden their network.

KEEP COMPOSERS WEIRD 2018 will take place between January 14th and January 22nd in Austin, Texas. Participants will be required to compose a work specifically for the program. Each composer will have the opportunity to work with an ensemble in a rehearsal and a recording session at Cacophony Records, recording and engineering done by Grammy winning producer, Erik Wofford. All tracking will be done in Austin, mixing and mastering will be conducted post-program and sent to the composer (composer retains all rights to music). A performance will be booked in advance and promoted to showcase each composer. In addition, conferences, panels, and mixers will be held at various venues around town to provide networking opportunities. Participants will be provided with housing (house includes full kitchen, living room, backyard, Wi-fi, TV, A/C etc), catered breakfasts, lunches

Info:
Participants (tuition + housing + two meals per day): $1,500 USD (contributes toward recording, musicians, performance)
Application should be sent by email to keepcomposersweird@gmail.com by December 1st 2017
1) Please send the following information:
a. Name
b. Birth date
c. Nationality
d. CV
e. Short paragraph talking about yourself (i.e – interests, goals, etc)
f. One letter of recommendation (if possible)

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

3) $15(USD) fee payable by paypal to thenoiserevival@gmail.com

Deadlines
Dec.1.2017: Application deadline
Dec.10. 2017: Announcement of results
Dec.15.2017: Notification to reserve spot in program
Dec.20. 2017: The selected participants will receive instrumentation for their works
Jan.10.2018: Deadline for sending finished composition
Jan.14. 2017 – arrival and accommodation in Austin
Jan.21/22.2017 – departure from Austin

Web Site:www.electrochestral.com/?page_...

 «Call for Sounds»
Summary:Science and music
Deadline: 11 February 2018
Date Posted: 20 September 2017
Details: The purpose of this call is to encourage artists to find creative new ways to convey scientific ideas through their music. Participants are invited to submit their creations as soundfiles* (with a maximal duration of 10’ minutes), which will be object of an open online voting process on the weeks following the the submission deadline of February 11th, 2018.

The pieces have to be inspired on some of the materials (images, animations, graphs) available at www.soundsof.net/materials. The ‘sound’ (piece/recording/sonification etc.) selected by the community as best conveying the scientific idea will be awarded with €2000.

1. Terms of application

1.1 Who can apply?

- composers of every age and nationality

1.2 What to submit

You can submit ‘sound works’ of any kind and genre. It could be a recording, an electroacoustic piece, a sonification or a combination of all those. We particularly encourage the use of a creative approach and the piece’s ability to convey the specific idea (image, animation, concept) by means of sound alone. The only limitations are:

Length: all submissions must be under 10’ minutes. A larger piece divided in different movements is not acceptable either; a submission must contain only 1 sound file.
Originality: Remixing someone else’s work, as well of any kind of copyright infringement is not acceptable. No transcriptions or arrangements (except arrangements of the composer's own works) will be eligible.

NOTE: Although the use of voice is perfectly fine, in the piece the music should speak for itself. If you have any questions concerning these limitations or any other aspects, don’t hesitate to email us at soundsofmatter@univie.ac.at.


1.3 Application material

1) Complete the online application form (soundsof.net/call4sounds) Applicants may submit up to 2 works to the Call4Sounds, regardless of their submissions to the other two categories (MAIN and MDW category).

2) Submit a short program note about the work (max. 1 page A4, in English) where you explain the connection between your piece and any the materials (image, idea, animation, concept, dataset etc.) available at www.soundsof.net/materials that inspired you. The relevance of this connection will be, together with the quality of the music submitted, the primary evaluation criterion. It is therefore in the applicant’s best interest that the concept is clear, accurate, and related to one of the seven research lines (Nano carbon-metal hybrids, Nucleation, Polymers, 2D-Materials, Metallic glass, Ferroic Materials, Diffusion) presented on the website. Incomplete or vague applications will NOT be considered.

All materials should be submitted electronically. If unable to submit a digital application via the provided online form, please send us all application materials via e-mail soundsofmatter@univie.ac.at with the SUBJECT: ‘Call4Sounds’. You are strongly encouraged to use Dropbox, Google Drive, or other free cloud storage for any extra materials as they may be too large to send as email attachments. Application deadline will be February 11th, 2018. Late applications will not be considered.

2. Online voting

On the five weeks following the submission deadline, an online voting process will begin. The process will be open, so anybody interested will be able to vote for their preferred piece at www.soundsof.net/vote.

3. Nomination

At the end of the voting process, the results will be announced by the organisation and the winner of the €2000 prize will be made public.

4. Interactive installation

Together with the winning piece, the organisation will select seven pieces to be part of an outdoors interactive installation at the the University of Vienna. Selected composers will be notified in advance and special participation diplomas will be issued for them.

5. Change of terms

The «Sounds of Matter» composition competition reserves the right to change these terms in the best interest of the project.
Web Site:www.matter.soundsof.net/call4s...

 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.


GUIDELINES


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

a. UNACCOMPANIED:
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 callrisuonanze2018@gmail.com

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: tkecallforscores@gmail.com

Web Site:www.risuonanze.it/calls/call20...

 Ablaze Records
Summary:Multiple Opportunities
Deadline: None
Date Posted: 06 September 2017
Details: Orchestral Masters, Vol. 6
APPLY
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
APPLY
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
APPLY
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
APPLY
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
APPLY
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
APPLY
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
APPLY
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.
Web Site:www.ablazerecords.net/submissi...

 National Association of Composers
Summary:Young Composers’ Competition
Deadline: 15 December 2017
Date Posted: 06 September 2017
Details: National Association of Composers / USA
(NACUSA)
39th Annual Young Composers’ Competition
Deadline: December 15, 2017 http://www.music-usa.org/nacusa/
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 rentows@aol.com
Web Site:nacusa.us

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

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: www.iss.it/pega.
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 www.iss.it/pega
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
www.iss.it/pega

Web Site:www.iss.it/pega

 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.

• UNACCOMPANIED SOLO DOUBLE BASS DIVISION
• 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.


Web Site:basschurch.com/event/2018-isb-...

 MIGRATION submission for listening
Summary:Site specific call
Deadline: None
Date Posted: 26 April 2017
Details: A listening room is a place where we listen and talk about what we hear. All submissions should be sent to alisteningroom (at) gmail.com and be clearly titled MIGRATION SUBMISSION.

Migration is something it seems we have all been forced to think about today. In some ways I feel reluctant to grapple such a hot public topic, and I feel even more reluctant to write about it. Yet the incentive is exactly that, how do we grapple with an issue that is not only in the news but also very important? A topic that is effecting or which more then likely will effect everyone in the world. Migration brings about images of other things too, immigration, and being a refugee are in a sense all different levels of human movement around the globe. But so is the migration of animals and non-human entities. While we often present animal migration as normal, and we understand that human hunter gatherers must migrate, how is it that most humans find it so hard to move that we describe such activities as uprooting, as if we are taken away from the very soil that nourishes and keeps us alive, when in fact looking at animal migration, it is precisely this movement that allows for survival.

These are not neutral movements, but stem from various reasons some good, some bad, some very bad. The reason for movement is often survival. This is not an easy subject, but I wish to deal with it as openly and diversely as possible.

The call is open to everyone. Sessions last a day, and everyone is free to come and go as they please. If you wish to submit sounds or music please email us clearly stating as your subject MIGRATION to alisteningroom (at) gmail.com if you wish to submit something which is not online please wetransfer it to the same address, again clearly stating the subject and your name in the message box. If you wish to write something about your submission please feel free to so do. All works will be published on our site and the sounds which are online will be linked.

The date and location of the session will be announced soon.
Web Site:aroomwherewelisten.blogspot.be...

 New York Composers Circle
Summary:Call wth no deadline
Deadline: None
Date Posted: 12 October 2016
Details: New York Composers Circle’s Monthly Salon Call for New Works No Deadline, No Fee

Invitation to NYCC Salons

The New York Composers Circle (NYCC) invites composers in the New York metropolitan area to its monthly salons to audition either completed works or works-in-progress for constructive commentary and attentive listening. This opportunity to share your works and commingle with your peers is especially valuable for composers recently out of school, working outside the music field and those simply hungry for a fresh perspective given in a warm, welcoming environment.

Guests are invited to bring their works, complete or not, to monthly salons. However, space and time are limited, so only those first five respondents who can arrange either a live performance or provide a recording (live performance preferable though a “good” MIDI realization is acceptable) and score (traditional, graphic, etc.) will be invited to one of the monthly salons. If invited, prepare a few introductory remarks and short commentary about your work to the assembled gathering. The remarks need only to be a quick summation of the impetus for the work or a short summary of its technical aspects. Guests who have presented at salons may be invited to join NYCC and have their works performed at one of its concerts.

Duration of presented works should not exceed 15 minutes and commentary on your work no longer than 5 minutes. We welcome printed handouts if you wish to share more about your work process and inspiration which members and guests can read at their leisure.

About Us
NYCC is a New York City composers’ collective founded in 2002 with over 60 members consisting of composers and performers. Members come from many walks of life and share a passion and deep knowledge about the complex process of composing a work and having it performed publicly. All are devoted to the core mission of promoting public awareness and appreciation of contemporary music through concerts, salons, and other events in the New York metropolitan area. As part of its fulfillment of this mission, the collective produces four concerts every year featuring its members' chamber works at such venues as Symphony Space, St. Peter’s Church and Leonard Nimoy Thalia Theater.

Submission Information
If you are interested, please write to Hubert Howe at the email
listed below with a description of the piece you will be bringing - its
title, instrumentation, duration, and the particulars of its
performance, and include some information about your musical background.

For general information about the New York Composers Circle, please
visit the website below.
NYComposersCircle
Contact: Hubert Howe
Email: Hubert.Howe@qc.cuny.edu
Web Site:newyorkcomposerscircle.org

 School of Music of Azusa Pacific University and J.W.Pepper Music
Summary:High School Competition
Deadline: None
Date Posted: 11 March 2015
Details: This High School Composition Contest is offered jointly by the School of Music of Azusa Pacific University and J.W.Pepper Music. It’s intent is to encourage the composition by high school students of high quality music that is accessible to reasonably well-developed high school music ensembles and performers. While this is the first year of the Contest, it is intended that it be an annual event.

The prizes for the winning composition in each category are:

1) $1000 cash

2) Public performance and recording by the appropriate Azusa Pacific University music ensemble.

3) Consideration for publication by J.W.Peppers publishing arm, Wingert-Jones Publications.

4) A complimentary subscription for J.W.Pepper’s My Score® self-publishing platform, valued at $99.

There are five categories of music being sought for the Contest. They are listed below, along with the length limitations for each category.

1) Orchestra 5 to 8 minutes

2) Choral 4 to 6 minutes

3) Wind Ensemble 5 to 8 minutes

4) Jazz Ensemble 5 to 8 minutes

5) Chamber 5 to 8 minutes

Plan to submit a properly notated score and demo recording. The winner in any category will be expected to provide clear, readable parts for the appropriate ensemble. Details are at the “How to Enter” tab above.

The choral composition may be accompanied or unaccompanied. It can be for mixed chorus, women’s choir, or men’s choir. Any accompaniment should be limited to piano and/or no more than two other common instruments.

The chamber composition may be for string quartet, string quintet, woodwind quintet, brass quintet, piano trio, piano quintet, guitar ensemble, guitar with bowed strings, or any common solo instrument. Other small groupings may be considered. If you would like to compose for a non-standard chamber group, it is suggested that you send email to musiccontest@apu.edu with a description of the ensemble to get approval of the ensemble for which you wish to compose.

Instrumentation for the other ensembles follows.

Orchestra:

Wind Ensemble:

Jazz Ensemble (big band):

Please see the “Contest Rules” tab above for further details, and the “How to Enter” tab for instructions about how to apply for the contest and submit your composition(s).

The contest is not yet “live.” It will be opened on April 1, 2015. After that time, questions not answered at the Contest Rules and How to Enter tabs may be directed to musiccontest@apu.edu.
Web Site:www.apumusiccontest.com/?page_...

 Flexible Persona
Summary:Journal seeks compositions
Deadline: None
Date Posted: 13 August 2014
Details: The Flexible Persona, a literary journal, is looking for the work of minimalist composers for our audio issues. We would feature a 10–20 second clip of your work before the story is read and then a work up to five minutes in length at the end of the broadcast with credit to you and link to your website/work. For questions or to submit links to your work, please e-mail us at: theflexiblepersona@gmail.com. Please do not send audio attachments. http://www.theflexiblepersona.com

Web Site:www.theflexiblepersona.com
Email:theflexiblepersona@gmail.com