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 Community college invites entries for composition competition
Summary:Concert band or string orchestra
Deadline: 01 May 2018
Date Posted: 19 April 2018
Details: The composer of an original piece of music is set to receive a $1,000 prize in the Anoka-Ramsey Community College First Annual Composition Competition, now open for submission. In partnership with the Music Department, the Anoka-Ramsey Community College Art Committee invites all composers, regardless of age or country of origin, to compose a musical piece and compete for the award.

The competition guidelines call for entries that are of moderate difficulty, appropriate for fourth or fifth grade, and the composition should be three to five minutes in duration. Written for concert band or string orchestra, the suggested instrumentation includes: 1st and 2nd Flute (optional piccolo); Oboe; Bassoon; 1st, 2nd and 3rd Clarinet; Bass Clarinet; 1st and 2nd Alto Saxophone; Tenor Saxophone; Baritone Saxophone; 1st, 2nd & 3rd Trumpet; 1st, 2nd (optional 3rd and 4th) Horn; 1st, 2nd and 3rd Trombone; Euphonium (BC/TC ?); Tuba; Mallet Percussion; Timpani and Percussion (expanded*). Optional: Piano 1st & 2nd, Violins, Violas, Cellos, and String Basses.

Composers are encouraged to use expanded percussion, particularly mallet and accessory instruments. They should plan for at least five percussionists with expansion to six or seven percussionists preferred.

Competition entries should be submitted via email at Each entry should include five items:
• cover sheet with the composer’s name, mailing address, email address, school affiliation if they are a current student, birth date, and names of all files submitted, in Word or PDF format;
• one PDF of the full score;
• one PDF of the set of individual parts;
• a recording in .mp3 format (MIDI files from the composing software are acceptable); and
• program notes (separate from the score, and in Word or PDF format).

The First Annual Composition Competition is open to the public, and individuals of all ages may apply. The deadline to enter is May 1, 2018.

For more information about Music at Anoka-Ramsey Community College, visit

 Alvarez Chamber Orchestra 'Voice your opinion'
Summary:Compose an original vocal work of any duration and scale
Deadline: 15 September 2018
Date Posted: 12 April 2018
Details: 9th Annual Composition Competition:
Compose an original vocal work
of any duration and scale,
from a solo sung piece to chamber orchestra* with voices.
First prize - £1000
Mullord Award - £500
Closing Date 15th September 2018

For the ninth year running, the Álvarez Chamber Orchestra (ÁCO) is inviting composers of any age and nationality to submit works for an annual composition competition.
• There is no specification as to the length or nature of the work apart from the inclusion of a vocal element.
• The voice part may be a setting of any text or pure vocalisations: an English translation should be provided for any non-English text.
• If electronics are used, if not notated conventionally and fully in the score, a CD or mp3 should be supplied.
• A recording of the work should also be submitted if the score is notated graphically or in any other unconventional format.
• There is no restriction on the number of works submitted by each composer but each piece will incur the same entry fee of £26.
• The work may be a new piece or may have been written at any time in the composer’s career.
• Scores may be submitted electronically as pdf files to the address of competition administrator Trevor Huntley:

• Each piece should have only its title displayed on the cover. The identity of the composer, including address, email, phone number, biography, photograph and programme notes should be placed in a separate email marked with the same title and sent to the same address.
• Scores may also be submitted as hard copies which should be sent to the ACO company address:
5 Rensburg Road London E17 7HL
• In addition to the two awards mentioned above, there is the prospect of a performance by the Álvarez Chamber Orchestra at a future season.
• The deadline for posted entries is 15th, 2018 September - posted scores arriving after that date will be accepted if postmarked with the closing date.
• Composers submitting their scores via a link on a file sharing site such as Dropbox should ensure the files remain uploaded until adjudication has been completed.
• All entries that the ACO receives will be acknowledged prior to adjudication. Composers will be notified if any files of an electronic submission are corrupt or missing. It is the responsibility of the composer to provide the ACO with pdf files that can be opened. If the composer is unable to supply the requested downloadable and readable files within the time limits detailed above, the entry will be deemed disqualified.
• Entries should not contain a pseudonym; all entries will be allocated a unique reference number by the ACO competition administrator to ensure the composer's identity remains unknown. Identities will only be revealed to the adjudicators once their final decision has been made.
• Please contact Trevor Huntley if further clarification is needed.
• The maximum* size of the orchestra is as follows:

2 flutes (2nd doubling piccolo)
2 oboes (2nd doubling cor anglais)
2 clarinets (2nd doubling bass clarinet)
2 bassoons (2nd doublng contrabassoon)
2 horns
timpani (doubling second percussionist)
percussion (one player)
any keyboard
6 violins
2 violas
2 cellos
1 double bass.

• The vocal component can range from a solo voice
to a chamber choir of mixed or single-sex voices.
• Minimum specification is a single voice.

The entry fee is £26 per work. Payments may be made via Paypal by clicking below


Deadline: 30 April 2018
Date Posted: 12 April 2018
From the 2018 edition the FBAS aims to stimulate the contact between young baroque ensembles and the new voices in the contamporary scene in order to explore new and unpredictable paths and connections between past, contemporary and future languages.

The selection criterias will be: the originality and identity of the language, the ability to explore the connections with the ancient languages and trace new paths based on identifiable parameters, the capacity both to dialogue with the needs of a new public and to project forward with an experimentation spirit.

The selected composers will collaborate with one of the ensembles of the NEWTRACKS@FBAS ensembles selection that will perform his work in one or more concerts in the FRINGE SERIES of the main program of the FBAS 2018.

One composer will collaborate with the Stradella Y(oung)-Project with a work releted with the 2018 production, the oratorio Santa Editta, vergine e monaca regina d’Inghilterra, that will be performed in the 8 concerts of the tournée.

Fill the FORM before April 30th

 La Sociedad Internacional por la Música Chilena
Summary:Competition for Chilean Composers
Deadline: 30 April 2018
Date Posted: 12 April 2018
Details: La Sociedad Internacional por la Música Chilena (SIMUC), siguiendo su objetivo de promoción internacional de la música chilena, invita a compositores y artistas sonoros chilenos o residentes en Chile a proponer una obra de su autoría para ser programada durante la tercera temporada de MEC, podcast dedicado exclusivamente a la música electrónica chilena, una iniciativa de la SIMUC.

1. MEC
1. a) Las obras seleccionadas serán programadas este año en la tercera temporada de MEC, la cual tendrá 10 capítulos publicados sucesivamente. Como es usual, estos serán programados y presentados por diferentes exponentes de la escena musical chilena. Agradecemos al Consejo Nacional de la Cultura y las Artes del Gobierno de Chile por el co-financiamiento de esta temporada.
2. b) Por música electrónica entendemos música concebida para ser presentada electrónicamente, pudiendo ser en base a elementos producidos electrónica o acústicamente. Esto incluye, por ejemplo, música acusmática, electroacústica y mixta, música con electrónica en tiempo real, música producida por instrumentos electrónicos o computador y música basada en síntesis de audio.

2. Obra
1. a) La obra debe ser de música electrónica según el punto 1. b de esta convocatoria.
2. b) La duración máxima es de 30 minutos, pero tendrán preferencia las obras de menor
duración, para permitir un mayor número de obras programadas.

3. Requisitos
1. a) Ser chileno o vivir en Chile.
2. b) Membresía SIMUC vigente (Más información sobre cómo hacerse miembro en

4. Selección
1. a) La selección será realizada por un comité conformado por programadores de MEC de temporadas anteriores, un músico chileno invitado y representantes de la SIMUC.
2. b) Un objetivo del comité será seleccionar obras de variadas propuestas estéticas. Será relevante también la calidad técnica (audio) de la obra.

5. Fechas
1. a) Se recibirán propuestas hasta el domingo 20 de mayo 2018.
2. b) Se informará sobre la selección directamente por correo electrónico a todos los
participantes el viernes 25 de mayo 2018.

6. Método
a) Utilizar la siguiente plataforma de postulación:

Summary:Chamber/symphony orchestra call
Deadline: 31 May 2018
Date Posted: 12 April 2018
The “Basel Composition Competition” (BCC) is an international event held biennially in collaboration with the Paul Sacher Foundation in Basel to honour works for chamber and symphony orchestra. Following the success of the inaugural BCC in February 2017, a second competition is to be held from 20 to 24 February 2019 under the directorship of Jury President Michael Jarrell. The founding president Wolfgang Rihm will also be a member of the Jury.


The Competition is open to all composers, with no limitation as to age or nationality.

The BCC will consider new orchestral works which have never previously been performed, with the following instrumentation:

Chamber orchestra:
Woodwind: 2-2-2-2; Brass: 2-2-0-0; a maximum of two musicians for Timpani and Percussion; Strings: 6-6-4-4-2

The following woodwind instruments may be included (also as a secondary instrument): Flute, Piccolo, Alto Flute
Oboe, Cor Anglais
Clarinet, E Flat Clarinet, Bass Clarinet

Bassoon, Contrabassoon
A work composed solely for strings with the above string instrumentation is also acceptable.

A list of prohibited percussion instruments can be downloaded from the website

Symphony orchestra:
Woodwind: 3-3-3-3; Brass: 4-3-3-1; a maximum of three musicians for Timpani and Percussion; Harp (1), one musician for Celesta and Piano, Strings: 8-8-6-5-4

The following woodwind instruments may be included (no secondary instruments are permitted!): Flute, Piccolo
Oboe, Cor Anglais
Clarinet, Bass Clarinet

Bassoon, Contrabassoon
A list of permitted percussion instruments can be downloaded from the website

No instrumentation or instruments other than those specified will be deemed acceptable; this applies to both the chamber orchestra and the symphony orchestra instrumentation. Works must not exceed 20 minutes in duration.

Applicants must submit a registration fee of CHF 50.

• Filled in online application form

31 May 2018
, 31 August 2018
, 31 October 2018, 30 November 2018, 17 February 2019, 20 February 2019, 24 February 2019

Registration and payment deadline
Deadline for submission of the full score
Announcement of nominated works
Deadline for submission of the orchestral parts
Nominated composers travel to Basel, Switzerland (obligatory!) Start of the BCC
Final round of the BCC


 «Old Bridge» International Composition Prize
Summary:Brass Competition
Deadline: 01 May 2018
Date Posted: 12 April 2018
Details: Article 1 - Object
The ITALIAN BRASS NETWORK with the support of Italian Brass Week, hereby announces the First Edition of the «Old Bridge» International Composition Prize. The competition aims to stimulate composers to create music compositions suitable to performing in one of the most beautiful and unique scenery in the world: Florence, with its Arno river, on front of the Old Bridge.

Article 2 - Admission requirements and general performance details
The Competition is open to all composers regardless of ages or nationality. Candidates should submit to the jury a composition (urban symphony) for large brass orchestra, small drum section and separate brass ensembles, lasting between 15 and 25 minutes, which is freely inspired by the river, the bridge and the city. For the first edition, the Organization has decided to accompany the execution of the winning piece of the competition with a virtual installation with pictorial games of lights and lasers created by the contemporary painter SIM A FR A ( The composer should therefore freely be inspired by extra-musical themes such as water, gold and flowers, connotative elements of the city of Florence and subjects of the video installation by visual artist Simafra.

The organization counts for about 100 brass instruments available for execution, divided between trumpets, horns, euphonium , trombones and tubas formed by students and professors of the Master Classes of the Italian Brass Week. The number may change according to members of the master classes. The composer can divide the ensembles as he wishes, but he must take in consideration the following important points:

1) The performance’s location is at the Florence’s Old Bridge area is divided essentially in 3 zones: on the Right river side (zone number 1) usually for a large ensemble; on the 3 boats at the center of the river (zone number 2) with 3 small brass ensemble on board; on the Old Bidge (zone number 3), just Soloist or very small ensemble. (please see the picture below);
2) The 3 boats in the middle of the river on front of the Bridge, with 3 small brass ensemble on board, are obligatory. Basically you can have 3 brass quintets, one for each boat, or you can divide the brass ensemble in
obligatory. Basically you can have 3 brass quintets, one for each boat, or you can divide the brass ensemble in 3 parts : Trumpets 1 boat, Horns and Euphonium 2 boat, Trombones and Tubas 3 boat. Please consider no more than 5 musicians every boat and one only conductor on the central boat. The position of the three boats will be almost between zone 1 and zone 3 and will be absolutely motionless during the performance;
3) No more than 3 orchestra conductors in total. The winner piece will be conducted by Dale Clevenger and Roger Bobo. The eventual third director will be selected by the organization one month before the concert.
4) The orchestra will be formed by students and professors of the Master Classes of the Italian Brass Week. (please visit and

In accordance with the picture above, work should be thought for one of the following combinations: A) 1-2 (1- all orchestra / 2- brass ensemble* or quintets)
B) 1-2-3 (1 - all orchestra / 2- brass ensemble or quintets / 3- brass soloists)

Candidates must to consider that the performance will be in a large open space, with little background noise and little bit of echo especially if choose an a large disposition of the ensembles (point B above). The winner of the competition, if necessary, must submit an outline of the arrangement of the ensemble.

Criteria for judging are musicianship and suitability for performance.

Submitted works must be unpublished, must never have been performed in public or have received any award, whether under their current title or any other, and must not have been previously commissioned.

Transcriptions, arrangements, paraphrases or works which includes musical references to other works are not accepted.

Article 3 – Entries
The deadline for the submission of manuscripts is 1 May, 2018. Each participant may only present one

Summary:Violin, cello and string orchestra
Deadline: 18 May 2018
Date Posted: 05 April 2018

1. The Organizer of the Competition is the Orchestra of the Royal Capital City of Krakow Sinfonietta Cracovia.

2. Competition is aimed to promote young composers and to broaden the repertoire for string orchestra.

3. The subject of the Competition is an original piece entitled Sinfonietta concertante per Sinfonietta created for a solo violin, solo cello and string orchestra (max. ensemble formation: 5-4-3-3-1). Duration of the piece must from 7 to 12 minutes.

4. The submitted composition can be sub-titled.

5. Entry into the Competition is open to all composers under 40 years of age.

6. The submitted composition must be an original composition that has not been yet performed, awarded or published.

7. Each participant can submit no more than two compositions.

8. To enter the Composition Entrants must anonymously submit in a sealed envelope marked with an emblem consisting of words or digits:

three copies of each composition (including the materials – parts),
a CD containing the electronic transposition of the score (PDF format) and the
audio simulation of the composition’s sound represenation.

9. Each entry must also include a secondary sealed envelope bearing the same emblem, containing the Entrant’s personal data and a signed statement based on the Application Firm enclosed as an Attachment to the following Terms and Conditions. The above mentioned Application Form can be downloaded directly from the Organizer’s website:

10. The Organizer reserves the right to use the scores and parts of the awarded compositions free of charge and to record the performances of the awarded composition and those given the honorary mentions for archival, documentary and promotional purposes in accordance with the rules specified in the Application Form.

11. All entry materials must be submitted by 18 May 2018 (date of dispatch constituted by the postmark or the date of the registered post’a deposit slip) to the following address:

Orkiestra Stołecznego Królewskiego Miasta Krakowa Sinfonietta Cracovia
ul. Papiernicza 231-221 Kraków
with additional information: International Composition Competition „Sinfonietta per Sinfonietta”

12. The Competition’s Jury consists of recognized experts in the field of composition:

Joanna Wnuk-Nazarowa,
René Staar,
Eugeniusz Knapik,
Jerzy Kornowicz,
Marcel Chyrzyński,
Jurek Dybał,
Adam Wesołowski.

13. Information about the winners and prize-awarded compositions will be published at the Organizer’s website: no later than 15 June, 2018.

14. The Competition’s Prize consists of the premiere performance of the winning composition Sinfonietta per Sinfonietta at the Sinfonietta Festival at Krakow including its professional video recording and other performances of the piece during the 2018/2019 concert season.

15. All prizes, including the possible honourable mentions and special commendations will be awarded at the discretion of the Jury.

16. The decisions of the Jury are independent, final and irrevocable.

17. All awarded scores will become the property of the Organizer. All materials related to the non-winning pieces (scores and parts) can be collected at the Organizer’s office no later than end of the 29 September 2018.

18. The winners of the Competition are obliged to include the full name of the awarded composition and information about the circumstances of its creation in future published editions of the piece’s score and other compilations which may refer to the composition (e.g. Wikipedia pages): Composition created for the International Composition Competition Sinfonietta per Sinfonietta held dunder the honorary patronage of prof. Krzysztof Penderecki and organized by the Orchestra of the Royal Capital City of Krakow Sinfonietta Cracovia.

19. By submitting an entry to the Competition the Entrant unequivocally agrees to the Competition’s Terms and Conditions.

20. The Organizer reserves the right to introduce changes to the Competition’s Terms and Conditions and its schedule or to cancel the Competition due to the exceptional occurrences going beyond their control or to force majeure.

 International Competition for Young Performers – Composers Oskar Rieding
Summary:Composing competition with 4 age categories
Deadline: 01 June 2018
Date Posted: 29 March 2018
Details: 1. International Competition for Performers – Composers Oskar Rieding is open for young musicians of all nationalities, who likes to compose and perform their own compositions. The primary goal of the competition is to support young performers on their music journey. Candidates can apply with one solo or chamber work for any instrument(s) /or vocal/, without electronics. The finals will take place in a wonderful hall of Narodni dom in Celje. Oskar Rieding chose this idyllic city for his home after he finished his orchestral career in the Budapest’s opera house and he wrote several important violin pieces there. These pieces still make part of repertoires for young violinists all around the world. It was in Celje where the composer wrote also one of his most performed pieces of the violin pedagogic repertoire – violin concert in H minor op. 35.

The organizing committee of the competition wants to offer to young musicians a new creative platform which will promote the importance of composing as an integral part of the development of each young musician. In this way, we will also symbolically revive the tradition of Oskar Rieding, a pedagogue, composer and performer of his own works. Performing your own piece on the stage is a very special experience.

We are looking forward to meeting you, dear young composers & performers and hearing your music!

Music is our companion throughout our life. It’s the beginning and the end. It’s a feeling and essence of many who chose it for their way of life.

Application and competition rules

A complete application for the 1. International Competition for Performers – Composers Oskar Rieding in Celje must include:
1st International Oskar RIeding Competition for Young Musicians – Composers is open for competitors of all nationalities, who likes to compose and perform their own compositions.

1. Candidates can apply with one solo or chamber work for any instrument(s) /or vocal/, without electronics. Competitior must be 20 years or younger ( exeption is the special – IV category *).
2. Competition will be divided in 4 age categories:

I category up to 10 y.o.
II category up to 15 y.o.
III category up to 20 y.o.
VI category from 21 y.o. – the special category Oskar Rieding

3. * Special category “Oskar Rieding”.
The competition has a special category for music pedagogues who are composing for their students. The category is named after a great pedagogue and composer Oscar Rieding, who devoted most of his work to his students. Only the lower age limit is set in this category: applicants from 21 years can apply. There are no upper age limits for candidates in this category.

4. Competition piece. In all categories, a candidate can apply with one composition, which can be written for a solo performer or for a chamber composition (two or more members) – in any classical music style or genre. The rule of the contest is that the author must also be the performer of the registered musical work. He/she can perform it as a soloist or as a member of the chamber group.
5. If a young musician ( I category) is getting help of a pedagogue in the process of own composing, this should be mentioned in the application.
6. In the special category IV it is desirable that a pedagogue`s pupil also participates in the performance of the declared composition.
7. The complete n-line application for the competition must include:

A filled-in application form on the competition website with enclosed:
• a YouTube link to the video recording of the candidate not older than 6 months on the day of application.*The video needs to be public (YouTube channel settings on “public”). There is a possibility to send the video recording in the DVD format. If so, please contact us before sending it via
• score of the composition in PDF format. Finalists must prepare scores in Sibelius or Finale format.
8. The competition piece should not exceed:
10 min. for the I category,
15 min. for II category,
20 min. for III category,
25 min. for IV category – The special category “Oskar Rieding”.

9. A copy of an identity document of the candidate and information (name, surname, title) of a pedagogue.
10. A proof of payment of the registration fee. *Registration fee for the competition is 65 euros for the I,II and III category and 70 euros for the IV category. After you finish your on-line application you will get your invoice for fee payment. The registration fee must be payed in the period of 5 days after you get the invoice from us. The Organizing Committee will award 5 free registration to pupils from families, who apply for this type of assistance.
11. The last day for submitting your application is 1 June 2018.
12. The organizational committee will accept only complete applications.
13. The finalists will be informed about their participation in the finals until 5 June 2018 via e-mail stated in the application.
14. The international competition will take place in two rounds:

First round will take place online on the website of the competition between 15th March and 1th June 2018. During this period the participants can send their video applications on the competition address. After the completion of applications an international jury will meet and grade the videos.The competitors will be given a gold, silver or bronze award according to their points.

All the participants will receive a certificate for participation at the 1st International Competition for Young Violinists Oskar Rieding. The citations and certificates for participation will be sent to participants by post or by e-mail. A pedagogue and a piano accompanist will also receive a certificate for participation of a student at a competition.

The gold award winners from all categories will go to the finals.

The finals will take place on 29 and 30 June 2018 in the National Hall in Celje, Slovenia; on the same day after the finished final performances there will be the award ceremony.

Solemn proclamation of the final winners of the 1st International Competition for Young Violinists Oskar Rieding will be after the final performances at the National Hall in Celje, Slovenia.

15. The finalists themselves cover their travel and subsistence expenses. The organiser will inform the finalists about possible favourable accommodation.
16. The decisions of the competition jury are final.
17. The jury may distribute any of the prizes among more contestants (ex aequo).
18. The jury can determine additional prizes for competitors.
19. By submitting the application form, the candidate and the parents or caretakers agree with the above stated rules.
20. By submitting the application for the competition, the candidate and the parents or caretakers consent to free public display of their video and audio recordings, photographs and achievements.They also allow to print the competition piece by the publisher, chosen by the jury.
21. For all questions or disputes is responsible the organisational committee of the competition. Its decisions are final.

For additional information send us an inquiry to:
We reserve the right to change these terms.


Summary:Call for scores based on writer's works
Deadline: 01 August 2018
Date Posted: 29 March 2018
Details: Synchromy announces a call-for-scores based on the writing of Ursula K. Le Guin

We are planning a concert of music to celebrate the life and work of author Ursula K. Le Guin. This concert will be presented during the 2018-19 season in Los Angeles. We are seeking chamber music only, no large-ensemble or choral works will be considered. Completed scores are preferred, but works-in-progress will be considered in consultation with the composer.

The details:
• There is no fee for entry, and submitted scores should not be anonymous.
• UPDATE – Scores should be directly related to the work or life of the writer Ursula K. Le Guin. Some examples

o A setting of text written by UKL
o A piece inspired by a specific work created by UKL
o A piece written to honor UKL
• Scores should be submitted by August 1st, 2018. In the case of works-in-progress, whatever is available should be submitted, along with a description of the remaining work to be completed.
• Recordings are preferred, MIDI realizations are acceptable.
• There is not a set instrumentation list, but keep in mind the practicalities will be a factor in programming, so large or unusual instrumentations may prevent us from being able to program your work at this time, though we’d still like to see it!
• If you have set Le Guin’s text, please provide a signed statement saying that you have been authorized to do so by either Le Guin herself or her literary managers.
• Submit scores and recordings (links to soundcloud or similar streaming options are fine) by August 1st, 2018 to . Scores that do not meet this deadline can still be submitted, but might not be considered.
• There are no age limits or nationality/residency requirements. All are invited to share their work.
• Synchromy will not be able to provide transportation, commissioning or rental fees for any composers whose work is selected for performance. Synchromy may not choose to perform any works submitted at all.
• Selected scores and parts must be completed and delivered to Synchromy by October 1st, 2018 unless other specific arrangements have been agreed to by both parties.

Questions? Contact us at We look forward to seeing your work.


 2018-19 CINTAS Foundation Brandon Fradd Fellowship in Music Composition is
Summary:Award for artists of Cuban citizenship or direct lineage
Deadline: 01 June 2018
Date Posted: 22 March 2018
Details: The CINTAS Foundation Brandon Fradd Fellowship in Music Composition competition is offered annually.

The winner of this Fellowship in Music Composition will be eligible to have their work, if suitable, performed as part of the New Music Miami ISCM Festival led by Orlando Jacinto Garcia and being held in 2020 at the FIU Miami Beach Urban Studios. The corresponding experience and exposure of such prestigious performances represents a highly enriched award to the winner.

Candidates must submit a minimum of 3 and a maximum of 5 recordings, two should be recent works. Recordings must accompany scores. Scores must be digitally scanned in pdf form. A list of all works (including the date of each) must be provided, showing which works have been performed or read. Please do not submit commercially sold cds or compilations. Compositions on microfilm or loose sheets will not be accepted. For the purpose of historical value, the winner is expected to submit signed and dated bounded scores and an accompanying CD to be added to the CINTAS Fellows Collection.

Since 1963, the CINTAS Foundation has awarded over 24 fellowships in music composition. In addition to supporting Cuban artists, many early in their careers, the CINTAS Foundation also maintains a growing collection of works by past awardees and other esteemed Cuban artists. For the purpose of historical value and documentation, award recipients are encouraged to submit signed music scores (i.e., representative samples of their work) to be added to the CINTAS Fellows Collection after the grant period.

Application Guidelines - Fellowship in Music Composition

Eligibility: Creative artists of Cuban citizenship or direct lineage (having a Cuban parent or grandparent). Applicants engaged in research, students, or performing artists are not eligible to apply for CINTAS Fellowships.

All forms can be filled out online and saved to a cd, dvd or flash drive for submission. Please also print and sign copies of the application forms and include with your application package.


The original application must be submitted. The application may be completed in English or Spanish. Please complete all sections of the application.

Artist's and Project Statements

Prepare two narrative statements: The Artist's Statement describes your personal history, your development as an artist, and your plans for the future. The Project Statement describes the project or activity that you would undertake if awarded a CINTAS Fellowship. Please include a timeline for the project, and identify other sources, where appropriate, of funding for the project.

Letters of Recommendation

Candidates must submit two letters of recommendation with the application. Letters may be submitted separately, if necessary, but must be received by the application deadline. Each letter of recommendation must be submitted in a sealed envelope, with the recommender's signature across the seal. Letters of recommendation must be written in English or Spanish.

Submission of Work Samples

Submission of Work Samples: All materials should be submitted to the CINTAS Fellowship Selection Program. Candidates are encouraged to send their materials electronically to the email address below or ship portfolios by express mail if necessary. Acceptable methods include Dropbox, Hightail, flash drive or CDs/DVDs. Materials must be accompanied by the Work Sample Form. Pieces should be carefully itemized on this form. Limit the submission to 5 (five) samples.

Send material to:

Laurie Escobar
CINTAS Administrator
MDC Museum of Art + Design
Freedom Tower at Miami Dade College
600 Biscayne Blvd.
Miami, Florida 33132

Tel: 305-237-7901

 Bay Colony Brass
Summary:Large brass ensemble call for scores
Deadline: 30 April 2018
Date Posted: 22 March 2018
Details: Call for Scores: March 15-April 30, 2018

Bay Colony Brass is pleased to announce its 2nd Annual Call for Scores. Bay Colony Brass (BCB) is one of the few large brass ensembles (or brass choirs) of its kind in the United States. Composed of twenty players, the group performs a broad range of repertoire spanning five centuries of brass and orchestral music. Bay Colony Brass is a volunteer organization and registered 501(c)(3) nonprofit in Massachusetts.

Composers of any age and nationality are invited to submit. Submissions will be accepted for BCB’s full ensemble or any subset thereof, though preference will be given to submissions using all or most of the full ensemble. Works will be judged on a number of criteria, including play testing, and the winner(s) will be performed in the 2018-19 season.

For our 2nd Call for Scores, submissions will be divided into two categories: composers may submit any work for brass that fits our instrumentation, but also we are encouraging submissions which fit our collaborative partner for the 2018-19 season, the Merrimack Valley Ringers. Works for brass and handbells will be given special consideration.


1. Composers are invited to submit any number of scores, though each submission must be accompanied with a separate entry fee.

2. Scores of any length may be submitted, but duration should be marked on the score.

3. Scores can be of any instrumentation up to and including: 6 trumpets, 5 horns, 3 trombones, bass trombone, euphonium, 2 tubas, 2 percussion. Smaller works will be accepted, although preference will be given to larger (14+ players) pieces. Multi-movement works are acceptable, as are works for multiple choirs of smaller ensembles (e.g. antiphonal quartets or quintets). Multi-movement works are considered single entries. To the extent possible, combine the files of multi-movement works into a single file before submitting.

4. Scores must be submitted electronically as .pdf documents to: A confirmation email will be sent back confirming receipt.

5. An entry fee of $15 must accompany each submission, payable through PayPal (link appears above.

6. Winners will be announced by the end of May 2018, and winning submissions will be programmed on BCB’s 2018-19 season.

Submission process:

1. Pay the submission fee (see link above)

2. Include the Paypal receipt # in an email, along with .pdf attachments of the score, a short bio, and recording if possible (.mp3, .wma, .mid, or .m4a), to

3. Name the files with your name and their titles in this way:


4. We will accept links to posting sites such as Dropbox for files larger than can be sent through email (10 MB or larger). Please include credentials if applicable.

Good luck!

 37th IAWM Search for New Music by Women Composers 2018 Competition Guidelines
Summary:Competition with 8 categories (women composers)
Deadline: 30 April 2018
Date Posted: 08 March 2018
Details: Receipt deadline: April 30, 2018

Submit via NewMusicEngine
The International Alliance of Women in Music (IAWM) announces its annual “Search for New Music by Women Composers” competition. Membership in IAWM is required, but contestants may join at the time of entry. This call is open to IAWM members who identify as women.

Ruth Anderson Commission Prize ($1,000)
Commission for a new sound installation with electro-acoustic music.
To apply, submit a detailed proposal of the sound installation. The project should be an ongoing installation and not require a performance to be successful. The project must be completed within 12 months of notification of the award. The winner will receive the award money after submitting a report to IAWM following the public showing of the completed installation. Location of the installation may be, but is not restricted to, an IAWM annual concert or congress.

Christine Clark/Theodore Front Prize ($500)
(minimum age – twenty-two) Large chamber and orchestral works
Sponsored by Christine Clark of Theodore Front Musical Literature, Inc.

Miriam Gideon Prize ($500)
(minimum age – fifty) Works for solo voice and one to five instruments.
Sponsored by Lucille Field Goodman.

Libby Larsen Prize ($300)
(must be currently enrolled in school) Works for any medium.
Sponsored by Dr. Larsen.

PDX Prize ($300)
Jazz compositions of any duration for small ensemble to big band (4-17 instruments)

PatsyLu Prize ($500)
(for Black women and/or lesbians) Classical art music in any form or instrumentation.
Sponsored by Patsy Rogers and Lucille Field Goodman.

Alex Shapiro Prize ($500 and mentorship/consultation from Alex Shapiro)
Works of any duration for large ensemble wind band requiring a conductor, with or without soloist, acoustic or electroacoustic, published or as yet unpublished.
Sponsored by Alex Shapiro.

Judith Lang Zaimont Prize ($400)
(minimum age – thirty) Extended instrumental compositions—large solo or chamber works—by a composer whose music has not yet been commercially recorded or published.
Sponsored by Professor Zaimont.
Each prize category has its own monetary award as indicated.

One entry: A composer may submit only one (1) piece in any given year in only one (1) chosen category. Please do not send more than one composition total.
Membership: Current membership in IAWM is required for submission. The competition is open to all IAWM Members who identify as women. If your membership is not current at time of submission, the work will be disqualified. Please note that membership is for the calendar year: January 1-December 31, and you may need to renew for 2018. See the IAWM website for membership information and payments:

Anonymous Submissions: Please upload an anonymous PDF file of the score and an anonymous MP3 sound file of the work. If a recording of a performance/reading is not available, MP3 files of MIDI realizations are acceptable. The score may not contain any identifying information. For the Ruth Anderson Prize only, please upload your anonymous proposal as a PDF file in the score upload area and leave the recording upload area empty. For all categories, please provide a short biography (maximum 200 words).

Unpublished works: For all categories, except the Alex Shapiro Prize, the work submitted must be unpublished by a major publishing house and must have won no prior awards at the time of entry in the competition. Self-published works are allowed. For the Zaimont Prize, the work must also have no plans to be professionally recorded when it is submitted.

Restriction for previous winners: Winners of previous SNM Awards cannot apply for two years subsequent to their award. For 2018, this includes winners of the 2016 and 2017 competitions. There is no restriction on submissions from those who received honorable mentions.

IAWM reserves the right to withhold an award, should the judging panel so recommend.

Submission Calendar
The submission period begins March 1, 2018.

Deadline for receipt of materials is April 30, 2018

Winners will be announced by August 30, 2018. The IAWM website will have a complete list of winners shortly after the announcement date. A press release with biographical information on all the winners will be distributed.

Questions: Send questions to the chair of the SNM Competition, Ingrid Stölzel, at

 Wilde Lieder - Marx.Music
Summary:International call for scores
Deadline: 29 June 2018
Date Posted: 01 March 2018
Details: Karl Marx 200
Karl Marx was born in Trier on 5 May 1818. He became a journalist, editing the Rheinische Zeitung in Cologne, which was prohibited by the Prussian censor. Marx and his wife Jenny were forced to leave the country, and he spent the rest of his life in London as a refugee, without nationality or passport.

He synthesised economic and philosophical thinking and how they determine our whole way of life. He foresaw how inequality of ownership leads inexorably to an inescapable cycle of crises, to globalisation, and to alienation from work. In partnership with Friedrich Engels he wrote the Communist Manifesto, intended to support workers’ movements on an international scale. Enlightening the proletariat about their situation, they felt, would provoke action to gain control over the means of production, finally facilitating truly free work. Karl Marx died in 1883, long before working people anywhere in the world acquired power or states were founded, supposedly, based on his studies.

As a student, Marx published his own poems in a collection entitled Wilde Lieder (wild songs); later, he hardly ever wrote about aesthetics, but generations of artists would engage with how they could contribute to the advance of society. Could music describe his findings? Can it engage with today’s needs?

International Call for Scores
On the bicentenary of his birth, we invite contributions to commemorate Marx’s legacy through music: choose a quote from Marx’s writings to set to music, capture some essence, reflect on his life and work, their consequences, or their future development. Please visit for full details.

Prizes will be awarded in three categories:

1. Ensemble of up to six instruments (fl, cl/bcl, pi, perc, vl, vcl) with or without soprano or ensemble of up to fourteen instruments (fl, ob, cl/bcl, bsn, hrn, trp, trb, pi, perc, 11111) with or without baritone, maximum duration 12 minutes
2. Duo of soprano or baritone and one instrument (fl, cl/bcl, trp, perc, vl, vcl), maximum duration 8 minutes
3. Sound art / radiophonic composition: stereophonic, for broadcast on hr2-kultur (Hessischer Rundfunk – Radio Frankfurt, public service radio) and at public performances and installations, maximum duration 10 minutes.
World premieres will be given on 1 and 2 September 2018 in Trier, and UK premieres in Birmingham.

Conditions of entry
The jury may at their discretion distribute the prize money otherwise depending on the distribution of submissions; their decision is final and not subject to legal recourse.

Prizewinners must be present at the first performance of their works, and are obliged to supply all the necessary materials for performance in the event of their work being selected no more than seven days after being notified of selection, currently scheduled for the third week in July 2018. By accepting the prize money the artist consents to his/her radiophonic soundart piece being broadcast by hr2–kultur (Hessischer Rundfunk–Radio Frankfurt) in any area and for an unlimited period; the association also retains the right to play the work during its public events without being liable to pay a composer’s fee (performances will be, registered with the respective performing rights societies, e.g. GEMA).

How to enter
Works must be submitted anonymously (identified only by a number corresponding to that on an envelope containing the name, address, telephone number and email address along with a CV and photograph of the composer) and in TRIPLICATE, by postal mail and in digital form, by 29 June 2018, 09.00am (British Summer Time UTC+1) at the latest to:

Birmingham Contemporary Music Group
CBSO Centre
Berkley Street
B1 2LF
United Kingdom

Please mark your envelope: Marx Call for Scores

Digital submissions should be sent to:


 The NED Ensemble announces THREE Call for Scores for the 2018
Summary:Three calls
Deadline: 13 May 2018
Date Posted: 01 March 2018
Details: 1) Ensemble from 1 to 5 instruments 2) Violin and piano
3) String orchestra and timpani

The NED Ensemble, during its 11th Contemporary Music Festival "Tra passato, presente e futuro" ("Between Past, Present and Future"), announces three "Call for scores" to find new compositions to be included in the 11th Contemporary Music Festival, scheduled in May 2018 in the concert hall "Andrea Celesti", located in Desenzano del Garda (Italy).

Call for Scores is open to composers of all nationalities, with no age limit.

Compositions of any style and aesthetics can participate, till 10 minutes length. It is not permitted to use any type of electronic and/or amplification

The submitted compositions can be unexecuted or already carried out in public, even the scores already bound with publishing contracts can participate in the "Call for Scores"

1) Call for scores - Ensemble Deadline at 23:59 on 22 April 2018
The scores (maximum two for each candidate) will have to be written for an organic from 1 to 5 instruments included between: flute, clarinet (in A, Bb and basso) violin, cello piano
Three pieces will be selected and performed as part of the 11th Festival of NED Ensemble

2) Call for scores - Violin and piano Deadline at 23:59 on 27 April 2018
The scores (one for each candidate) will have to be written for violin and piano and will be performed by duo Marcel Frumasachi (violin) and Alexandra Stradella (piano), soloists of the NED Ensemble.
Three pieces will be selected and performed as part of the 11th Festival of NED Ensemble

3) Call for scores - String orchestra and timpani Deadline at 23:59 on 13 May 2018
The scores (one for each candidate) will have to be written for string orchestra, with or without timpani (max subdivision of strings: 2, 2, 2, 2, 1)
Two pieces will be selected and performed as part of the 11th Festival of NED Ensemble

International call for scores
To participate in the Call for scores you must submit the following documentation to:

1. copy of an identity document;
2. scores in pdf or permanent download link;
3. brief biography (up to 500 characters in Italian or English) also containing the following sentence for privacy: I authorize the processing of my personal data pursuant to Legislative Decree 30 June 2003, n. 196 "Code regarding the protection of personal data";
4. brief presentation of the piece/s (max 300 characters in Italian or English)
5. Transfer receipt with the following amount

• € 30,00 Call for Scores - violin and piano
• € 30,00 Call for Scores - ensemble
• € 40,00 Call for Scores - string orchestra and timpani

 Concorso Smareglia
Summary:Competition with 2 categories
Deadline: 31 May 2018
Date Posted: 22 February 2018
Details: 1. The Accademia di Studi Pianistici «Antonio Ricci» of Udine, in collaboration with the Casa Musicale Sonzogno of Milan, the Archivio Smaregliano of Udine, the Teatro Nuovo “Giovanni da Udine” and the Conservatorio Statale di Musica Jacopo Tomadini of Udine and with the sponsorship of the Regional Council of Friuli Venice Giulia, Udine Town Council, the Fondazione Friuli, the Fondazione Carigo and the Società Filologica Friulana are pleased to announce the


2. The Competition is divided into two sections as follows:

Section A: compositions for solo piano of between 5 and 10 minutes.

Section B: compositions for solo voice and piano of between 3 and 6 minutes.

For section B, the choice of text is at the discretion of the composer, provided that: - the text has been published (or translated) in one of the following languages: Italian, French, English, Spanish or German;
- the text is in the public domain, or the composer has requested and obtained the author’s and/or translator’s explicit permission to use the text (or the permission of his/her legal heirs and/or legal representatives, see § 7)

In the 5th edition of the competition, there is a special prize, that will be awarded to composition for solo voice and piano of between 3 and 6 minutes, with a text in the Friulan language. The choice of text is at the discretion of the composer, provided that the text is in the public domain, or the composer has requested and obtained the author’s explicit permission to use the text (or the permission of his/her legal heirs and/or legal representatives, see § 7).

The Società Filologica Friulana, patronage of the competition, can provide a selection of texts in Friulan language with a possible translation in Italian, German or English, and also audio files with reading of the texts themselves (contact to

3. The competition is open to participants of every nationality and there are no age restrictions applied. The works presented may have been performed previously but must be unpublished and not have been awarded prizes, awards or special mentions in previous competitions.

4. The Jury Commission (five members) will consist of eminent musicians of international acclaim and a representative of the Casa Musicale Sonzogno of Milan.

5. Competition entries, with all file specified in point 7, must be delivered no later than 31 May 2018, only by electronic means and in PDF format, to:

6. No entry fee is required.

7. The title and the name and the surname of the author must be evident on the frontispiece of each composition.
Every e-mail must have in attachments the following documentation in PDF format: - the particulars and contact details of the composer (including telephone number and e-mail address);

- a ID cart copy;
- a written statement, signed by the composer, affirming that the composition has not been previously published or received prior awards, prizes or special mentions in previous competitions; - written authorization signed by the author (or his/her legal heirs and/or legal representatives) permitting the use of the literary text selected, where said text is not already in the public domain; - proof of copyright clearance to publish the work in cases where the composer is contractually bound by an exclusivity agreement to a particular publisher.

Failure to comply with these requirements will result in the participant being automatically disqualified from the Competition.

8. The author of the winning work will be obliged to ensure that the score, publicity posters and all future citations of the work are accompanied by the following phrase: "Work awarded the 5th Antonio Smareglia International Competition Prize”.

9. The result of the Competition will be announced within the 30 June 2018 and the competition results will be promptly published on the official website of the Accademia Ricci.

1st Prize
The winner of the composition awarded 1st prize will receive an award of € 2.000,00*. The composition will be published by the Casa Musicale Sonzogno of Milan (see § 7) and will be performed in concert during 2018. The Casa Musicale Sonzogno will include the winning composition in its own catalogue and will undertake the drafting of the contract and the promotion of the work, the material for which must be delivered strictly in digital format and realized using the Finale software program.

2nd Prize
The composition awarded second prize will receive an award of € 1.000, 00*.

3rd Prize
The composition awarded third prize will receive an award of € 500, 00*.

SECTION B – Voice and Piano

1st Prize
The winner of the composition awarded 1st prize will receive an award of € 2.000,00*. The composition will be published by the Casa Musicale Sonzogno of Milan (see § 7) and will be performed in concert during 2018. The Casa Musicale Sonzogno will include the winning composition in its own catalogue and will undertake the drafting of the contract and the promotion of the work, the material for which must be delivered strictly in digital format and realized using the Finale software program.

2nd Prize
The composition awarded second prize will receive an award of € 1.000, 00*.

3rd Prize
The composition awarded third prize will receive an award of € 500, 00*.

The winning composition of special prize (for the use of a text in the Friulan language) will receive an award of € 800,00*.
• All prize monies are gross and therefore subject to taxation.

11. The Judges may also decide to give special mentions to compositions deemed worthy of particular merit. All winners and those receiving special mentions will receive a Diploma of merit.

12. In the event that the Jury should deem the quality of the works presented to be of an insufficient standard, one or more of the prizes may not be awarded.

13. The Competition organizers reserve the right to alter the terms and conditions of this competition announcement in the event that such changes become necessary due to Force Majeure or any circumstances beyond the organizers’ control.

14. Participation in this Competition implies the full acceptance of the terms and conditions stipulated above.

15. The decision of the Jury is final.
The official text for this competition is deemed to be that published in the Italian language. All disputes shall be subject to the jurisdiction of the Court of Udine.

16. For any further information required, candidates are advised to contact:

tel. +39.338.6648129 - e-mail:

 International Festival of Video Art and Visual Music 2018
Summary:Visual Music Call
Deadline: 20 May 2018
Date Posted: 15 February 2018
Details: In order to support the artistic creation and visual composition of every creator from any nationality and age,the International Festival of Video Art and Visual Music 2018 is open on the following basis and format specifications:
Submit a video work for Cinema* or Fulldome**, on the theme of Video Art or Visual Music, with any techniques, concepts and ideas.

• Photo scanner of DNI card, passport or similar.
• Video work information ( .txt or .doc file ).
• Title of work.
• Video format ( Cinema*or Fulldome** ).
• Producer ( name,e-mail address ).
• Document of the work ( maximum half of a page ).
• Producer biography.

Original work with minimum length 5 minutes and maximum length 10 minutes.
• Video Master format, 16bit RGB. Filenames following the “MyWork_LastName.mp4” ( Without umlauts, without special characters or symbols; numbers separated by the underline character, only one dot to separate the filename extensión ).
• Resolution: 2k ( 2048 x 1080 pixels ).
• Picture format: preferably MP4; MOV admitted.
• Frame rate: preferably 30 fps; 29.97 fps, admitted.
• Titles: Five seconds of initial titles.
• Sound: 5.1 surround ( L / R / C / LFE / Ls / Rs ) 16 bit or 24 bit, 48 kHz. Stereo admitted.

Original work with minimum length 4 minutes and maximum length 11 minutes. Dome Master format, 16bit RGB, 180° equidistant image field, consecutively numbered picture sequences starting at 0 or 1. Filenames following the “MyWork_00000.png” scheme, without umlauts, without special characters or symbols; numbers separated by the underline character, only one dot to separate the filename extension.
• Orientation: below = front; left= east ( dome at left ); right = west ( dome at right ); top = rear.
• Resolution: preferably 2k ( 2048 x 2048 pixels ).
• Picture format: preferably PNG, best quality JPG2000 are admitted.
• Frame rate: preferably 30 fps; 29.97 fps, admitted.
• Sound: Uncompressed WAV format***or 5.1 WAV surround ( L / R / C / LFE / Ls / Rs ) 16 bit or 24 bit, 48 kHz.
***Single channels in uncompressed WAV format,16 bit or 24 bit, 48 kHz. Filenames identical to frame filenames according to the scheme above ( “MyWork_C.wav”, “MyWork_L.wav”, etc. ).
For synchronization, the sound must begin with the first frame.

A film teaser, full HD, 1920x1080, 30 seconds max duration.

FOR CINEMA: April 20, 2018.
FOR FULLDOME: May 20, 2018.
1. The evaluation and selection will be for public dissemination and show of works, without fee charge for any participants.
2. The selected artists will be informed via email and will be part of the International Festival.
3. The festival will be held at the Digital Culture Center of Mexico City and other venues from 3 May 2018 onwards. Digital Dome of Cuernavaca from 2 June 2018 onwards.
4. The jury will be made up of international personalities committee.
5. Send your files using Dropbox, WeTransfer or similar, specify the links at:
6. For any queries please email us on:

Summary:Competition with 4 categories
Deadline: 29 June 2018
Date Posted: 08 February 2018

* We kindly ask the composers to carefully read the whole regulation, which contains detailed information. As already happened with our previous competitions, many composers write us to ask for the same things, which are clearly explained in this regulation. This is probably due to the unwillingness to read such a long regulation, which refers to 4 different competitions. However, if you read it carefully, you will find the answers to all your questions. "Participation in this contest implies acceptance of these Rules"

1 – In this contest any music style is allowed, however it stands out from the previous editions in particular for the first two categories (A and B) which test the creativity of the composers and urge them to create new compositions, within a short time, using only the instruments indicated.

2 - This regulation is very similar to the previous one, but contains the obligation to use the instruments specified for the first two Live categories. In the third category, the composers will be able to choose the instruments that they prefer based on a list (like in the previous competitions.) Conversely, for the fourth category- which is completely different from the other three sections – the choice of the instruments is utterly free.

3 - All the music genres shall be admitted in all the contest categories, provided that the score is written in a clear way. In particular, the third and fourth category are open to: compositions for symphonic orchestra, bands, jazz orchestras, movie soundtracks, different music styles from everywhere in the world (classic, contemporary, choir and solo singers etc. etc.). The competition is open to any musical expression. From compositions written for a single instrument, to those for large orchestra.

4 - As the contest is open to all forms of musical expression, it is allowed to participate with any kind of compositions. According to latest research, there are at least 1264 music genres all over he world. All genres are admitted, and compositions may be registered for any of the 3 categories of this third edition. Special prizes, in addition to those specified in the rules, will be awarded to the most unusual and interesting music genres, with complete freedom of musical experimentation.

5 – The first three categories shall be judged live; which means that they shall be played directly before the jury by one of our orchestras. The compositions of the fourth category called "Instruments of the world" will not be played by the orchestra, but will be rather judged after the reproduction of the audio files and the display of the musical score, by evaluating the files sent by the composers, as happens in the majority of the competitions worldwide. We have added this fourth category to allow the composers to include any existing instrument, including the ethnic ones and those which are rarely used in Western orchestras. Each orchestra, even the larger ones, has its own limitations from an instrumental point of view, therefore it would be impossible to find musicians able to play any instrument, considering the countless instruments in the world.

6 – Most of the articles included in this regulation provide rules applicable to all the categories, except for some points dealing specifically with one of the four categories, which differ from one another in some aspects, such as the participation fee costs (much lower for the fourth category).

7 - EACH CATEGORY is an independent international contest, with no connection to other categories. Composers who register in 3-4 different categories are basically participating in 3-4 separate contests. There is a relation among the various competitions, but only for the numerous prizes and those who sign up for multiple categories. This novelty is interesting and has been introduced in these contests. There will be also a special prize for those who obtain the highest score, adding up the scores reached in the Live categories for which the composer has signed up. Therefore, if a composer takes part in two or three Live categories, in addition to the specific prizes of each category, he/she can win the special prizes relating to the highest score obtained by adding up the “A+B”, “A+C”, “B+C”, “A+B+C” categories (as will be better explained further on.)

8 - Each composer may also take part in different categories with the same composition, provided that it is compatible with the instruments specified; since these competitions are independent and will be judged in a different way.


10 – All composers of the world may take part in the contest, from any Country of any continent.

11 – No is required a music diploma.

12 - There are no age limits. Young music students as well as elderly composers are admitted. As always, the jury will not know the name or age of composers, so that all musicians may have equal chances, even the youngest. We cannot exclude the possibility that somewhere in the world there may be a child prodigy, composing great music at a very young age, like Mozart did. All composers younger than 18 years must have a written and signed authorisation by their parents, or legal tutor.

13 - Compositions may have been already played in public and may appear on YouTube or other websites; they may also be recorded on CDs/DVDs. Compositions will not be admitted if they won the first prize in other contests.

14 – THE NUMBER OF PLACES IS LIMITED to max 30 composers of each registered Nation (for each category), or Independent State. No additional registrations will be accepted from Nations which already reached this number of contestants. This rule aims to allow enough time to evaluate all compositions in the best possible way, which would be impossible to do in the time frame available, if contestants are too many. This way, the Contest will be better manageable and will represent many different Nations. 30 composers of each registered Nation is the maximum number allowed for each category of the contest.

15 – THE CONTEST IS DIVIDED INTO 4 CATEGORIES, four different composition contests:


Now, let us see the characteristics of each category:

16 – CATEGORY "A": “LIVE CHAMBER ORCHESTRA” (14 mandatory parts).
In this category only compositions with the following 14 instrumental parts shall be admitted: violin 1, violin 2, viola, cello, double bass (4 strings), oboe 1, oboe 2, horn 1, horn 2, bassoon 1, bassoon 2, flute, clarinet, timpani (4).

The orchestra playing the songs before the jury shall be made up of about 20 string instruments which play the same parts in unison, in addition to the other instruments indicated, thus creating an orchestra consisting of at least 30 musicians. However, the composition must include only 14 parts.

17 – CATEGORY "B": “LIVE STRING ORCHESTRA” (5 mandatory parts).
In this category only compositions for string instruments are allowed, precisely with these 5 instrumental parts: violin 1, violin 2, viola, cello, double bass (4-string).
The orchestra playing the song before the jury shall be made up of several instruments, which play the same parts in unison, thus creating an orchestra of at least 20 musicians. However the composition must include only 5 parts.

18 – CATEGORY “C”: “LIVE FREE ORCHESTRA” (from 1 to 50 parts of your choice).
19 - Compositions of this category may include maximum 50 different instrumental or vocal parts, with all possible mixed combinations. The expression “instrumental parts” especially refers to the number of musicians, considering that the same musician may sometimes play several instruments at the same time, such as percussionists. For example, if the same musician plays 4 different percussion instruments, which alternate during the song, these 4 instruments will count for one (instead of 4 different parts). Similarly, if the same musician plays the flute and the piccolo, and these instruments alternate in the track, they will count for one, instead of two. In this category is possible to partecipate also with the compositions for solo instrument (1 part), for example solo compositions for piano, harp, guitar, violin, cello, accordion etc.

20 – In case of doubts, or if you wish to add instruments that are not included in the list, please send us an email.

21 - It will be up to conductors to decide how many identical instruments will play the same part together, for example 12 violins – 6 cellos – 4 double basses, etc. Composers may also give their own suggestions about which orchestra formation they consider to be the most suitable.

22 – CATEGORY: “INSTRUMENTS OF THE WORLD”: Compositions of this category may include from 1 to 50 different instrumental or vocal parts, with all possible mixed combinations, from one single instrument or voice up to big orchestra.

23 - This category is extremely different from the other three "LIVE" categories. The main differences are: *The compositions of this category will not be played by our orchestras; *To evaluate the compositions, the judges will listen to the audio files previously sent and examine the musical score; *All the existing musical instruments can be used; *The participation cost is much lower than the other categories, because the orchestra is not included and the single parts must not be printed.

24 - Almost every point included in this Regulation also applies to the third category, except for two important aspects: 1) It is mandatory to send the audio file (which is optional for the first three categories); 2) Only themusical score must be sent, i.e. the one generally used by orchestra conductors, which includes all the instruments on the same page "without sending the single parts" of each instrument (which is, conversely, mandatory for the other categories).

For further information:
Web Site:creativecomposers2018.weebly.c...

 Cory Band Announces 2018 Composition
Summary:Brass band competition
Deadline: 26 April 2018
Date Posted: 08 February 2018
Details: The Cory Band, in collaboration with The Royal Welsh College of Music and Drama (RWCMD), is delighted to announce details of the Composition Prize for 2018.

Now a well-established event in the band’s calendar, entries are sought by composers of any age or experience of works which have not already been performed. Three of the submitted works will be selected by composer and Musical Director of Cory Philip Harper, to be performed by Cory Band at a gala evening in the prestigious Dora Stoutzker Hall at RWCMD on Saturday 26th May 2018. A panel of experts consisting this year of trumpet player John Wallace, conductor Nigel Seaman, and Cory Band’s Musical Director Philip Harper will decide the winner on the night, which will immediately receive a second performance from the band before going on to be published and recorded.

Speaking about this year’s competition Philip Harper said: “This has developed into a really successful event now, and since its inception has created over 60 new works for brass band. Cory has really enjoyed performing and recording the previous three winning works by composers Lewis Furber, Richard Haydn Taylor and Andy Wareham. At this year’s concert we are delighted to be joined also by The Wallace Collection with which the band will be joining to present Scottish composer Jay Capperauld’s new work, which will only add to the spirit of celebration of new brass music of the evening.”

Continuing, Philip commented: “One of the new features to the competition this year is a video which the band and I have created, which aims to give first-time composers an idea of where to start when scoring for the brass band. In previous years I have felt that some entries struggled to grasp the idiosyncrasies involved here, and so hopefully our user-friendly guide will encourage more composers to feel confident in their creating!”

• Entrants are invited to compose a piece for brass band of no more than five minutes duration. Pieces already performed will not be considered.
• Instrumentation should be standard brass band* with no more than four percussion parts. Advice on the basics of brass band scoring can be found by watching Philip Harper’s video:
• There are no restrictions on the style or type of music, but the winning entry will have an appeal to a normal brass band audience at a standard concert, therefore it is advised that entrants consider at least one of these elements of familiarity:

o conventional use of tonality or tonal centres
o Rhythmically-drivenmusic
o A programme or narrative

• The closing date for entries is Thursday 26 April 2018, and the addresses to send entries are included on the entry form. On or before this date candidates should submit the following:
o Theentryform(hardcopy)
o A proof-read, completed full score in Sibelius 6 format
o A hard copy set consisting of four scores, professionally bound, and a full set of band parts (one part per player) of professional quality
o The entry fee of £15, with a cheque made payable to ‘The Cory Band’

• A shortlist of three compositions will be selected for performance at a Gala Concert held in the Dora Stoutzker Hall at RWCMD on Saturday 26 May 2016, where a winning entry will be decided by a panel of judges – Liz Lane, John Wallace, Nigel Seaman and Philip Harper.
• The winning entrant will receive a trophy, a cheque for £300 sponsored by Kapitol Promotions, and the title of 'Winner of the RWCMD Cory Band Composition Prize 2018' for their curriculum vitae.
• The winning entry will be published by Wright and Round Music Publishers, for which the winner will receive a contract of publication, benefitting from royalties annually. The winning entry should therefore be marketable, not just in terms of appeal, but also in terms of level of technical difficulty.
• The winning entry will be recorded commercially by the Cory Band.

* 1 x Eb soprano cornet, 9 x Bb cornets, 1 x Bb flugel horn, 3 x Eb tenor horns, 2 x Bb baritones, 2 x Bb euphoniums, 2 x Bb trombones, 1 x bass trombone, 2 x Eb basses, 2 x Bb basses


 BBC Proms Inspire
Summary:Competition for Young Composers
Deadline: 24 May 2018
Date Posted: 08 February 2018
Details: Now in its twentieth year, the BBC Proms Inspire scheme provides 12-18 year olds with a friendly environment to share ideas, meet like-minded composers and develop their musical creativity, while working alongside some of the UK’s top composers and musicians. If you are 12-18 years old and want to make your own music, read on to find out how to join the BBC Proms Inspire scheme and enter the BBC Proms Inspire Competition.

The 2018 Inspire Competition is now open for entries until 5pm, Thursday 24 May 2018.

What is the BBC Proms Inspire Competition 2018?

“BBC Inspire is a brilliant scheme which invites young composers of all ages and abilities to get involved, no matter what genre or genres you write in. There are great workshop days with professional musicians at the top of their game, as well as the BBC Proms Inspire Competition. In my two years' judging the competition, I've been hugely impressed by the range and excellent standard of the entries.” Kerry Andrew, Inspire Competition judge 2018

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

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

What are the prizes?
• Winners are given the opportunity to have their work performed at the BBC Proms by professional musicians and broadcast on Radio 3.
• Winners also receive a BBC commission and are mentored by a professional composer. Previous winners have written for members of Aurora Orchestra, the BBC Symphony Orchestra and the BBC Singers for performances at the Last Night of the Proms, BBC Maida Vale Studios and Radio 3 live broadcasts.
• Highly commended and shortlisted composers have access to exclusive Inspire projects.
• All entrants receive priority booking to Inspire workshops during the Proms season.

More info:

 Waterloo Region Contemporary Music Sessions
Summary:Competition with 2 categories
Deadline: 18 June 2018
Date Posted: 18 January 2018
Details: Call for solo saxophone


flute, violin, clarinet, cello, piano, percussion

Full information here:

 UMSL Young Composers Competition
Summary:Competition with 3 Categories
Deadline: 13 May 2018
Date Posted: 04 January 2018
Details: The University of Missouri - St. Louis Department of Music is pleased to offer a competition for young composers in the states of Missouri and Illinois. The anonymous submissions will be judged by faculty members of the Department of Music, and the winning pieces will be performed by UMSL student ensembles in Fall 2018. Each winning composer will also be given a professional audio recording of the performance.

There are two divisions:
• Division 1: Composers who will be enrolled in high school in Missouri or Illinois (grades 9-12) for the 2018-19 school year
• Division 2: Composers who will be enrolled as college undergraduates in Missouri or Illinois for the 2018-19 school year. Current UMSL students are ineligible.

Performance Area
Applicants may submit an original composition (no arrangements) to one of the following three performance areas:
• Orchestra
Maximum instrumentation: 2222/4221/timp+2 perc/strings
Length: no longer than 10 minutes
• Wind ensemble
Maximum instrumentation: 2 fl, 1 ob, 1 bsn, 3 cl, 1 bass cl, 2 alto sax, 1 tenor sax, 1 bari sax, 3 tpt, 4 hn, 3 trbn, 1 euph, 1 tuba, timpani+3 perc
Length: no longer than 10 minutes
• A cappella choir
Voicing: SATB (with divisi, 4 to 8 parts total)
Length: no longer than 6 minutes

(1) Submissions should be made online, using the Google form found at:
(2) The form requires the user to log into a Google/Gmail account. If you are unable to log in, please email for alternate submission instructions.
(3) All submissions will be judged anonymously, so each applicant will be asked to create a pseudonym.
(4) There is no entry fee.
(5) Applicants may submit only one work to the UMSL Young Composers Competition.
(6) Applicants must provide a PDF score and an audio recording of the work. MIDI realizations are acceptable.
(7) All submissions must be original works -- no arrangements.
(8) For choral applicants, please make sure that you take care of any copyright issues with the text of your piece. We strongly recommend the use of a public domain text, or a text of your own creation. If you do submit a work with copyrighted text, we will ask you to provide documentation of permission to use that text.

All submissions must be received by 11:59pm (CDT) on May 13, 2018

(1) Judges will be composition/theory faculty and ensemble directors of the University of Missouri - St. Louis
(2) Works will be judged on their compositional/musical merit, score presentation, and the artistic potential of the composer. Since the winning works will be performed by student ensembles at the University of Missouri - St. Louis, feasibility of performance by undergraduate music majors will be a factor in the selection of winning pieces.
(3) We reserve the right to select multiple winners or no winners in any category, depending on the quality of the submissions.

Winning Compositions
(1) Winners will be notified by email by July 1, 2018.
(2) The winning compositions will be performed by University of Missouri - St. Louis student ensembles (Symphony Orchestra; Wind Ensemble; Vocal Point) on that ensemble's concert during Fall 2018. Exact dates TBA.
(3) Winning composers are expected to be present at that concert, and will receive a professional audio recording of the performance.
(4) Orchestra and Wind Ensemble winners will be expected to provide a complete set of parts (PDF) by August 1, 2018


If you have questions about the Young Composers Competition, please contact Dr. Zachary Cairns at Thank you!


 Minute of Music Project
Summary:Competition for US composers
Deadline: None
Date Posted: 06 December 2017
Details: Call for Scores – Submit Your Score
First Open Call For Scores! – Minute of Music Project

Entry Deadline: None (ongoing)
Entry Fee: None (project is crowdfunded)
Eligibility: All adult U.S. citizens (18 or older)
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 18 when submission is completed.
Entrant must reside in and be a legal citizen of the United States.
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, 2016.
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 “banana.”
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.
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.

Have a question not answered here? Use the contact tab.

 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 Please include “BGSU Graduate Student Conference” in the subject.
Web Site:bgsumuctgraduatestudentforum.w...

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

DEADLINE: Online entries due by June 1, 2018.

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

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

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


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

The prizes for the winning composition in each category are:

1) $1000 cash

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

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

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

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

1) Orchestra 5 to 8 minutes

2) Choral 4 to 6 minutes

3) Wind Ensemble 5 to 8 minutes

4) Jazz Ensemble 5 to 8 minutes

5) Chamber 5 to 8 minutes

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

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

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

Instrumentation for the other ensembles follows.


Wind Ensemble:

Jazz Ensemble (big band):

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

The contest is not yet “live.” It will be opened on April 1, 2015. After that time, questions not answered at the Contest Rules and How to Enter tabs may be directed to

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