Site Search

Other Resources
News Archive

solo other Competitions & Call for pieces

 Music and Erotics: Call for Scores
Summary:Solo Soprano Score Call
Deadline: 26 October 2018
Date Posted: 17 October 2018
Details: February 22-23, 2019

Department of Music, University of Pittsburgh

Keynote Speaker: Dr. Deborah Wong, University of California, Riverside

Performer in Residence: Anna Elder

Call for Scores

About the Conference

The erotic exists at the core of our being, at the peripheries of our consciousness, and is embedded in our senses. It is experienced in the body but is often unspeakable, or exists beyond recognition and conceptualization. As gender, sexuality, and their materiality remain central to music studies today, theorizing the erotic allows us to think through the embodied experience of listening to and producing music and sound. For this conference, we seek Compositions that ask how we might understand music across geographical and temporal distance in relation to the erotic. Audre Lorde famously theorizes the erotic as “a measure between the beginnings of our sense of self, and the chaos of our strongest feelings”, existing on a “deeply female and spiritual plane” (1978). In what ways is the erotic connected to both femininity and masculinity, or to non-binary notions of gender performance? How is the erotic expressed or policed along lines of race and ethnicity? How do these manifest in musical performance? Does this help us to address how “particular musics may conspire with or against particular bodies, [and] ...constrain and/or enable particular desires and forms of conduct” (Tia DeNora 1997)?

All submissions relevant to the conference topic of “Music & Erotics,” are welcome. The program committee is particularly interested in those that address the following:

• Trans- and queer-of-color critiques of music studies
• Corporeality, im/materiality, and tactile experience
• Music and erotics as an affective exchange
• Expressions of love, romance, disgust, and rage in performance and listening
• D/deafness, disability, and sexuality
• Post/colonial sexualities and “the erotics of empire” (Wong 2015: 182)
• Exoticism, orientalism, and the sexualization of Otherness

For this conference, we seek compositions for soprano vocalist Anna Elder that are related to the erotic. The chosen composers must attend the conference or their pieces will not be programed. Prior to the conference the selected composers will have a Skype reading session with Anna Elder to work through their pieces. After the performance of their piece all selected composers will join a 20-minute roundtable discussion about their pieces and the connection to the conference theme.

Performer in Residence, Anna Elder

Soprano Anna Elder’s voice has been described as being, “ethereal” or “a voice that has blues, reds and purples in it” by The New York Times or “a voice that could match, pitch for pitch, the grumble of a truck’s engine or squeak of a scooter’s horn.”- Wilmington Star News. She is a native of Pittsburgh, Pa and currently performs with the new music ensembles Kamratōn and wolfTrap. She has also appeared with Pittsburgh’s Alia Musica, Nat28, Opera On Tap and The Eclectic Laboratory Chamber Orchestra. Anna was the lead vocalist with Squonk Opera for three years and premiered Go Roadshow and sang in the Off-Broadway version of Mayhem and Majesty, where she was described as creating “a sort of persona that becomes tangible which takes shape and begins to define what unfolds on stage.” -Broadway World

Other engagements have included performing Music for 18 with New Music Detroit and appearing as a guest vocalist with Quince Ensemble. She has appeared on Music on the Edge’s Beyond Microtonal Music Festival, The Pittsburgh Festival of New Music, Detroit’s Strange and Beautiful Music 2017, and The Cleveland Uncommon Sound Project’s Re:Sound festival. Anna graduated from The Eastman School of Music in 2006 and has since attended New Music On The Point in Vermont for two summers where she studied with Tony Arnold.

Ms. Elder intends to push the limits of the human voice and enjoys commissioning new contemporary works that take her there. She experiments and improvises with found objects such as fans, cat toys, aluminum foil, and her own heartbeat. Her repertoire includes works by Giacinto Scelsi, Georges Aperghis, Cathy Berberian, Charles Ives, Anton Webern, Kaija Saariaho, Arnold Schoenberg, Franz Schubert, and Claude Debussy. She has premiered works by Curtis Rumrill, Ryan McMasters, David Gerard Matthews, Laura Schwartz, Christine Burke, Lu-Han Li, and Brian Riordan. With Kamratōn, she will premiere a new piece by Elizabeth Brown in March and Her Holiness The Winter Dog, an opera by Curtis Rumrill for Kamratōn, Quince Ensemble, and Shana Simmons Contemporary Dance in May. Anna has pioneered the annual concert series She Scores, which features works by living women composers for Kamratōn. The ensemble has received support from The Opportunity Fund, The Heinz Endowments, and The Pittsburgh Foundation. As an administrator, Anna serves as the Development Officer for Nief-Norf, a contemporary music festival in Knoxville, Tennessee. Anna can be heard on the album Squonk Opera’s “Go Roadshow” and can be seen anywhere from a basement to a concert hall.


Performance Space

All performances will take place in the Frick Fine Arts building on the University of Pittsburgh Campus in Pittsburgh, PA.

All chosen composers must register and attend the February 23, 2019 conference.


There is no registration fee. Chosen participants will be sent a link to register online. Registration is for catering numbers. All others can register as conference auditors starting in January 2019, details to be announced later.

Conference cannot provide stipend for travel or housing for selected composers but is happy to provide documentation for travel grants. There is limited housing available to stay with University of Pittsburgh graduate students. If accepted information on travel and housing will be provided.


The University of Pittsburgh invites all submissions of scores for voice (University of Pittsburgh students are not eligible). Preference will be given to composers who do not hold tenure-track positions at Universities.

Only pieces for solo voice.

250 word proposals for new works that are 2-7 minutes will be considered. (Must submit 2-3 representative scores, one including voice (any type))


Pre-existing works for solo voice (G3-C6) that are 2-10 minutes will be considered.

Submission Guidelines

All submissions must be sent by email. Hard copies will not be considered. Late submissions will not be considered.

The submitted pieces/proposals technical guidelines:

Range: (G3-C6)

Languages: English, Italian, French, German, and Spanish

If you are submitting a proposal for a new work:

Checklist for Google form submission

100 word Biography [PDF]
2-3 representative works (one must contain an example of vocal writing) [PDF and MP3s or streaming link if available, no MIDI please]
Up to 250 word proposal on your vision for the piece and how it connects to the theme of the conference of Music and Erotics.
A submitted Google form:
If you are submitting a pre-existing work:

Checklist for Google form submission:

100 word Biography [PDF]
The pre-existing score for solo voice [PDF and MP3s or streaming link if available, no MIDI please]
Up to 250 word explanation on how the piece connects to the theme of the conference of Music and Erotics.
There is no limit on submissions from individual composers, however, only one score will be chosen from your submissions. Please submit as many as you feel are applicable.

Please submit via Google Form:

Submission Deadline: Friday, October 26th by 11:59PM EST.

Notification: Applicants will be notified of acceptance or rejection by Monday, December 5.

 TWO MINUTES piece for flute solo
Summary:Flute call
Deadline: 10 November 2018
Date Posted: 11 October 2018

TWO MINUTES piece for flute solo (flute, piccolo, alto flute, bass flute)

Iwona Glinka (Athens-based flutist) is seeking for new pieces for performance and recording. Submissions must be not yet commercially released on recording. It is acceptable if the music has been disseminated on the Internet via YouTube, Soundcloud, personal web sites, etc., as long as a commercial recording has not yet been produced.

The length should be two minutes. The style is open to the taste of the composer.

The intention for selected submissions is to present them in live performance in programs and then to record them for a CD made up exclusively of submissions from this call to be released on Phasma Music Label Full physical and digital distribution via Naxos.

Four-stages submission process:

First stage until November 10, 2018.

- No works over two minutes will be reviewed
- No hand written score is not accepted
- Provide a maximum 50-word biography and 50-word program notes in English
- Upload a score as a PDF file to
- Demo recordings are welcome via a link to Dropbox, Soundcloud, or other external hosting site. Please do not email audio files.

Second stage until November 30, 2018.

- All selected composer's works will be subsidised for the performance, recording and distribution of their work.
- Agreement signing
- Fee 180 Euro via PayPal (recording equipment, sound engineer, editing, preparing the master, renting venue, cover and inside design, CD production, distribution)

Third stage until April 15, 2019

- Concert and Recording

Fourth stage until May 31, 2019

- Sending to every composer 8 copies of CD album

 Bassoon Composition Competition announcement
Summary:Solo instrument call
Deadline: 21 December 2018
Date Posted: 19 September 2018
Details: Everyone who interested in composition for Bassoon Solo or Bassoon with Piano Accompaniment is invited.

Before sending your submissions, please read the terms carefully.

1.No age or nationality limit exist for participants, all composers around the world in any ages can enter the competition.

2.there is No entry fee, you can send your submissions for free.

3.all the submissions must not deliver later than December 21st, 2018.

send your submissions to the following E-mail address:

5.send a completed and signed form+Score and Parts in PDF format +Audio in Midi or Wav or Mp3 Format+ a short biography in PDF or Doc format.

6.all the participants have to compose an original piece for the Bassoon solo or Bassoon with piano accompaniment, so any other combinations will be eliminated, also rearranged or transformed pieces will be not accepted.

7.any entries must not be under copyright by any person or publishers.

8.the pieces must not have performed or published before the competition.

9.all the usual techniques and the extended techniques related to the Bassoon is allowed.

10.any Composition style can be utilized for the announcement; it will depend on the composer interests.

11.if your piece selected, all the rights both financial or non-financial will be given to the producer, this will be non-negotiable.

12.after the introductory reviews, the selected pieces will be announced on the website ( and the selected composers will be informed.the selected pieces will be Record and a qualified copy will be sent to the composer.

if the producer finds that you are not qualified or broke the rules of the competition in any steps, the procedure will be suspended and the participant should be responsible for the proper damages.

14.for any question you can contact via following E-mail or

please DOWNLOAD and sign the form to enter the competition

 Minute of Music Project
Summary:Call for Scores – Female Composers
Deadline: None
Date Posted: 26 April 2018
Details: Entry Deadline: 12/31/2018 at 11:55 P.M. MST
Entry Fee: None (project is crowdfunded)
Eligibility: All adult (18 or older) composers who self-identify as female (any nationality)
Prize: None, but I will record your piece for posterity!

Submission Link Below (please read the rules first)!

One entry per person.
Entrant must be at least 18 when submission is completed.
Entrant must self-identify as a female.
Entry must be for solo B-flat trumpet (with no accompaniment or electronics).
Entry must be no longer than one minute in length. Moderate difficulty is preferred.
Entry must be engraved with the dedication “For the Minute of Music Project.”

Composition must have been written since January 1, 2018.
Entry must be the sole property of the composer and entirely original.
No arrangements or copyrighted material will be accepted.
The secret word for the submission form is “change.”
Composers reserve their copyright and recording rights.

Mr. Taurins reserves the sole right to accept or reject submissions.
Mr. Taurins reserves the sole right to judge submissions.
All judgement decisions will be made by Mr. Taurins and are final, without the ability to appeal.
Mr. Taurins reserves the right to decline any and all submissions.
Mr. Taurins will pay no license or rental fees for the music.
Mr. Taurins will perform selected entries and record them on YouTube. By submitting your piece, you agree to allow Mr. Taurins to record your entry free of charge. You will receive a .WAV copy of the recording for your use.
Selected pieces will be announced here and composers will be notified via email.
Donations are optional, and will not effect score selection.
By submitting your piece, you agree to the terms listed here.