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 Screen Music Programme
Summary:Screen writing
Deadline: 31 March 2020
Date Posted: 24 December 2019
Details: As a participant in the Screen Music Program, you will:
• have your work screened at the Program’s evening events in Milan in front of a jury composed by the Program Faculty roster plus two other professional critics. The Best Composer, as determined by the jury, will receive free tuition to the next Screen Music Program;
• have your violin or cello track recorded by a solo performer at the Kubì Soundlab recording studio. You have up to 30 min. for your session with a sound engineer and performer and will receive the audio track you can integrate into your music;
• present your work at the Screen Music Colloquium, a daily masterclass led by Alison Plante, Clint Bajakian, and Paolo Tortiglione. You will receive a public lesson from one of them and the feedback from all the other participant composers;
• attend the lecture and the masterclass of our special guests Harry Gregson-Williams, Jeff Russo and Inon Zur;
• have individual Scoring Lessons with Alison Plante, Clint Bajakian, and Paolo Tortiglione. You will have a private lesson with two of them;
• attend the daily ‘Scoring to Game Design’ workshop with Diego Ricchiuti;
• attend daily lectures on Spotting and Scoring, Compositional Devices, Applied Composition to DAW Scoring, Music under Dialogue and Narration by our international faculty members;
• be part of the Program’s Alumni and join one of the largest international network of film composers, accessing new opportunities, commissions, collaborations, and screenings.

You will also have access to:
• a welcome buffet;
• a guided tour of the city of Milan;
• all the Program’s parties.
All classes are taught in English. Minimum age requirement 18 years old. The tuition for the Screen Music Program is 1,699 Euros. APPLY NOW!
Web Site:screenmusicprogram.com/program

 The Improviser’s Experience: Knowledge, Methodology, Communication.
Summary:Improvisation Day
Deadline: 14 February 2020
Date Posted: 24 December 2019
Details: The Improviser’s Experience: Knowledge, Methodology, Communication. A Study Day at The University of Huddersfield

CALL FOR PROPOSALS

In association with the Royal Musical Association, and the University of Huddersfield’s Centre for Research into New Music and Research Centre for Performance Practices.

Submission deadline: February 14, with selection notifications by February 28, 2020

Location of the study day: University of Huddersfield, Phipps Hall

Date: April 2, 2020

Study Day organisers:

Jonny Best (University of Huddersfield)

Irine Røsnes (University of Huddersfield)

Improvisation presents epistemological challenges to the artistic researcher. It’s hard to explain exactly what we’re doing when we improvise; the experience of spontaneous music-making can seem to be consciously directed only in part. To the extent that improvised musical performance relies on embodied or procedural knowledge, it can be elusive and resistant to being fully known, let alone pinned down in words.

As artistic researchers investigating the practices and procedures of improvisation, how should we respond? What kinds of knowledge about improvisation are obtainable? Which methods are most suited to the task? And how can we manufacture interfaces which enable the wider scholarly community – and the world beyond – to gain meaningful access to experiences of improvised performance? How can we write and talk about improvisation effectively?

This study day will comprise a mixture of paper presentations, performances and discussion. We welcome proposals from PhD students, early-career researchers and improvisation practitioners. While the focus of the study day is artistic research, we also welcome proposals from non-performing academics who currently work with improvisation in some form or another. While our focus is musical improvisation, proposals addressing other spheres of improvisational practice are enthusiastically welcomed.

The following list of topics is only indicative and should not be seen as exhaustive:

What kinds of knowledge are produced through and by improvised (musical) performance?
What kinds of processes are taking place in the moment of creatively engaging with a musical instrument through improvisation? To what extent and how does this vary with different musical instruments and sound-producing mechanisms? Through which methods might we perceive these processes?
To what extent can the performer’s kinds of knowing be made explicit, expressed and shared?
To what extent and how should we structure our self-reflection as improvising artistic researchers?
To what extent should we be beware, or embrace, the performer’s subjectivity? What might its uses or limitations be?
What role can auto-ethnography play?
What role can phenomenology play?
What vocabulary or terminology expresses the experience of (musical) improvisation most usefully? How can we meet the challenge of communicating the experience of improvised performance to those who have not experienced it for themselves?
Proposals/abstracts (200-word max) are invited as follows:

– 15 min paper presentations

– 15 min performance presentations (including some blend of live performance with traditional paper)

– improvised performances of any type up to 15 mins (shorter performances are very welcome!)

Please include biographies (max 100 words) of presenters

Please submit via the online submission portal at: https://forms.gle/8uxk5miycYXNWcfA8. A word doc of this CfP can be downloaded via Google drive: https://drive.google.com/file/d/1KbyBV-TOsu0NO_ReUky-WfMAmttnyGm_/view
Standard PA system with a projector is available. There are two grand pianos in the hall. If you require any further technical or musical equipment, please provide full details with your application.

If you have any enquiries, please email Irine and Jonny at network.impro@gmail.com

The registration fee for the study day is £5. The event is free for members of Huddersfield University and the Royal Musical Association.
Web Site:improdotnetwork.wordpress.com

 DME Artistic Residency
Summary:Residency opportunity
Deadline: 31 January 2020
Date Posted: 24 December 2019
Details: Located in the heart of Serra da Estrela, in Portugal, the DME Artistic Residency in Seia aims to provide composers and sound artists with a suitable context for the creation of new works.

We provide accommodation, a work space with a quadraphonic system and a fee. Other equipment [for recording, projection or other applications] may be provided after discussion with the technical and production team.

We are looking for project proposals in the areas of electroacoustic, acousmatic, mixed music, video music, sound art and soundscape.


DATES
The Artist Residency DME in Seia will be held in 3 periods throughout the year of 2020.

The minimum duration is 2 weeks and the maximum duration is 1 month.

The respective periods and terms are the following:

April 2020
opening of applications: 11 Dec 2019 closing of applications: 31 Jan 2020
August 2020
opening of applications: 1 Feb 2020 closing of applications: 31 Apr 2020

November 2020
opening of applications: 1 May 2020
closing of applications: 31 Jul 2020

PROJECT
The project to develop during the residency is proposed by the artist.
Presentation of the final product is possible but not required.
However, it is mandatory to carry out a public activity, open to the community, which may or may not be related to the project developed at the residency.
Priority will be given to new creations directly involving the Seia region and / or its community.
Web Site:www.festival-dme.org/p/artist-...

 Dublin Sound Lab
Summary:COLLABORATIVE COMPOSITION WORKSHOP
Deadline: 06 March 2020
Date Posted: 18 December 2019
Details: Date: 15-18 April
Venues: Project Arts Centre, Essex St; and CMC, 19 Fishamble St
Duration: All day

Dublin Sound Lab invites composers, musicians, instrumentalists, singers and music technologists to submit ideas for new music works to be developed and performed in a Collaborative Composition Workshop, 15–18 April 2020, during MUSIC CURRENT FESTIVAL, Dublin.

We are especially interested in proposals which are clear in concept but which are not yet fully realised, and which would benefit from practice-based collaborative development to complete and perform the work. As many as ten participants will be selected to collaborate in a series of composition workshops and to develop and realise their works in concert at Project Arts Centre, 18 April 2020.

Submissions can include devised works, or concepts for collaborative composition and performance, for any combination of flute, synthesiser, fixed-media, multichannel loudspeaker system, live electronics, computer, synthesiser, midi controllers, or any other instrumental or vocal forces that the participant can supply. We anticipate that the participants will be able to realise their own works, or to be able to source suitable collaborative musicians and partners from amongst the workshop participants to help perform or realise their work.

Participants will have access to a rehearsal/performance space and production facilities at Project Arts Centre, and assistance from Music Current Festival technicians. Participants will enjoy access to all Music Current Festival concerts, and will take part in public panel discussions, technical reviews, open rehearsals with Richard Craig, round-table discussions with Karlheinz Essl, and masterclasses with Alexander Schubert.

Composers, musicians, instrumentalists, singers or music technologists of any age or nationality, with experience or interest in electronic composition and performance may apply. Composition Workshop participants must be available to attend at Music Current Festival, Project Arts Centre, Dublin, from 15–18 April 2020. Application is free but selected participants will pay a fee of €100. At least one of the participants will be invited to work with Dublin Sound Lab as an Associate Artist and will be offered a commission of €2,500 to develop a new work for Music Current Festival 2021.

Application deadline, 6 March 2020
Notification of acceptance, 20 March 2020
Participation fee deadline, 3 April 2020
Web Site:www.musiccurrent.ie/compositio...

 Sydney International Composers Concerts
Summary:Opportunity for performance and video recording of orchestral works
Deadline: 31 December 2020
Date Posted: 04 December 2019
Details: It is designed for the composers who wish to hire a symphony orchestra to perform and video record their orchestral compositions in Sydney International Composers Concerts. Supported by the SCO Foundation, continually contributed by Dr Brian Chatpo Koo, the hiring fee has been set as small portion of the cost as possible. (less than 10% of the total cost).

The contribution fee covers:
• Concert Performance - Selected works will be performed by the Sydney Contemporary Orchestra in a magnificent concert hall in Sydney Australia.
• Rehearsals - Composers are welcome to the six open rehearsals, one dress rehearsal before the concert.
• Video Recording - The recording will be taken during the concert,
• Digital Publishing -The recordings will be published on our website via YouTube, enabling a lasting legacy for personal and/or commercial purposes.
• List composers' names on our website - All recorded works will be listed on our website, one of the largest websites for contemporary composers and contemporary compositions with a high visitor traffic flows.

REGULATIONS OF PARTICIPATION
Composers of all nationalities and all ages who wishing to video record the orchestral works may submit the works to apply a share position.

No entry fee.

CATEGORIES FOR SYDNEY NEW MUSIC FESTIVAL 2020
A: CONTEMPORARY PIANO MUSIC 2020
Instrumentation:
Solo piano

Contribution Fees:
1. up to 10 minutes - $500 AUD
2. more than 10 minutes and up to 15 minutes - $1,000 AUD
3. more than 15 minutes and up to 20 minutes - $1,500 AUD

B: CONTEMPORARY STRING QUARTET 2020
Instrumentation:
String quartet - Violin 1, Violin 2, Viola, Cello

Contribution Fees:
1. up to 10 minutes - $1,000 AUD
2. more than 10 minutes and up to 15 minutes - $1,500 AUD
3. more than 15 minutes and up to 20 minutes - $2,000 AUD

C: CONTEMPORARY CHAMBER MUSIC 2020
Instrumentation:
Any instrumentation within the following combination:
1.1.1.1., 1.1.1.1., timp., 1 perc., 1 harp (optional) 1 piano (optional) 1.1.1.1.1
Contribution Fees:
1. up to 10 minutes - $1,500 AUD
2. more than 10 minutes and up to 15 minutes - $2,000 AUD
3. more than 15 minutes and up to 20 minutes - $2,500 AUD

D: CONTEMPORARY ORCHESTRAL MUSIC 2020
Instrumentation:
Double winded symphony orchestra
2.2.2.2., 4.2.2.1., timp., 2 perc., 1 harp (optional) 1 piano (optional) 10.8.6.6.4


Contribution Fees:
1. up to 10 minutes - $3,500 AUD
2. more than 10 minutes and up to 15 minutes - $4,500 AUD
3. more than 15 minutes and up to 20 minutes - $5,500 AUD

Selecting criteria:
• High artistic value and musical content
• High level compositional techniques
• Passion for new music
• Willing and be able to make contribution fee

HOW TO SUBMIT
Composers must provide the following materials:
1. Score
2. Orchestral parts (if ready)
3. Audio or video (if available)
4. Photo
5. Biography
6. Program notes

The materials can be submitted by:
1. Email attachments (in PDF format and for orchestral parts in .zip files, audio MP3/MP4 files) office@sydneycontemporaryorchestra.org.au
2. Please write to us for the address if you would like to post your hard copy of the score (if it has been published or if it is an oversized score) and DVD/CD (if available).

(Submitted materials will not be returned )
• There is no dead line for submission. Program for each concert will be announced whenever the 90 minutes music is finalised. Later submissions maybe scheduled for next year. Since we are supporting each concert more than half portion of the costs, so we must keep the concert standard as high as possible with the best quality compositions.
• If the work is selected you will receive an official confirmation letter/invoice, and an instruction for contribution fee payment.
• After the payment you will receive an official receipt and the details of the concert and rehearsal schedules.


ATTENTION COMPOSERS
For composers who submitted for video recording concerts:
Submission policy has been updated. Entry fee is not required and all entry fees will be refunded. If you have paid your entry fee and not yet receive our email regarding to this, please write to us to process refund.

For composers who previously submitted for free concerts and successfully listed:
We hope will be able to host free concerts again in future. However, if you don't want to wait, please write to us with your payment details to process your entry fee refund.

If you have any questions please contact us:
Email: office@sydneycontemporaryorchestra.org.au
Web Site:www.sydneycontemporaryorchestr...

 International Composition Institute of Thailand
Summary:Composition Institute for Young Composers
Deadline: 01 March 2020
Date Posted: 27 November 2019
Details: International Composition Institute of Thailand (ICIT) is an intensive and unique experience for young composers around the world to experiment their own sonic and conceptual ideas with well-known and highly artistic performers to large ensembles and participate in in-depth sessions with professional contemporary living mentors/composers. Lead by Piyawat Louilarpprasert, the director of Thailand Music and Arts Organization (TMAO), the ICIT will be held in July 7th - 12th, 2020 with the partnership of Silpakorn University and Princess Galyani Vadhana Institute of Music. Moreover, the selected work of participants will be premiered in public concert during July 10th - 12th at the Thailand New Music and Arts Symposium (TNMAS 2020). The mentor composers are including Jason Thorpe Buchanan (USA), Jiradej Setabundhu (Thailand), Jean-Patrick Besingrand (USA/France) and Emily Koh (USA/Singapore).

Application Deadline: November 15th 2019 - March 1st, 2020
Application Fee: Free
Prize: The winner will receive $1000 USD as well as a commission for the next ICIT and TNMAS 2021
Participants Fee: 800 USD (including foods, accommodations, professional recordings, access to the symposium and 1 day sightseeing in Thailand)
Observers Fee: 200 USD (including foods without accommodations, however we have recommendations)

*** The Institute will provide an invitation letter for participants to apply their own individual grants for support.

The institute will offer 8 - 10 international composers regardless of nationalities to participate in activities including:
1) Multiple rehearsals of their works with residence ensembles, reConvert Duo (Switzerland), Meitar Ensemble (Israel) and Taceti Ensemble (Thailand)
2) Intensive one to one lessons or group coaching with faculty composers
3) Public music presentations and seminars of participants with a partnership of Silpakorn University and Princess Galyani Vadhana Institute of Music
4) Premiere of each participant’s works in a public concert at the most prestigious venue, Bangkok Art and Culture Center (BACC)
5) After the premiere, Tacet(i) ensemble will consider pieces as ensemble repertoire and/or to be performed in the Thailand New Music and Art Symposium (TNMAS) and future performances
6) Participants will also receive professional recordings of the concerts as well as certificates and documentation
7) All selected composers will receive the certificate of awards and participations

Application Requirements

ICIT is finding young composers under 35 years old from around the world regardless of nationality.

1) 2 pages of CV/Resume and 1 recent photo as well as biography (200 words)
2) 2 scores of recent works of any instrumentations and styles. One of the submission scores could be a piece for the workshop and concert as well.
3) recording is not required but appreciated (both scores and recording could be uploaded in any online or downloadable links)

Selected Participants Schedule
Early March selected applicants will receive emails to accept the place.
March 12th deadline for confirmed selected applicants to transfer first instalment ($400) via paypal
April 1st deadline to transfer second instalment ($400) via paypal
June 1st deadline for a score for either Meitar and Tacet(i) or mixed ensembles, 1 – 8 performers,
duration around 5 – 8 minutes within any of these following instrumentations:

reConvert Duo: 2 Percussionists
Meitar Ensemble: Cello and Piano
Tacet(i) Ensemble: Flute, Clarinet, Saxophone, Trombone, Guitar, Piano, 2 Violins, Viola, Cello, Percussion, Electronics

***All ensemble members could be mixed.

April 15th official announcement for the selected participants
June 5th deadline for scores and parts
July 6th arrivals in Bangkok
July 7th - 9th intensive daily rehearsals, presentations, seminars, lessons and workshops
July 10th -12th public concert at Bangkok Art and Culture Center (BACC)
July 13th 1 day sightseeing trip in Thailand (to be announced)
July 13 - 14th Departure
Web Site:www.tmaomusic.com/icit/

 KHN Center for the Arts
Summary:Residency Programme
Deadline: 01 March 2020
Date Posted: 31 July 2019
Details: KHN Center for the Arts awards up to seventy juried residencies per year to established and emerging visual artists, writers, composers, and interdisciplinary artists from across the country and around the world. Residencies are available for 2 to 8-week stays. Each resident receives a $100 stipend per week, free housing, and a private studio. Application deadlines are MARCH 1 and SEPTEMBER 1 annually.

The March 1 deadline determines residency awards scheduled the following July – December. The September 1 deadline determines residency awards scheduled the following January – June.

Upcoming Session Dates and Deadlines:

2020 Session 1: January 6 – June 19, 2020 (application deadline September 1, 2019)
2020 Session 2: July 6 – December 18, 2020 (application deadline March 1, 2020)

Kimmel Harding Nelson (KHN) Center for the Arts

Website: https://www.khncenterforthearts.org
Location: 801 Third Corso, Nebraska City, NE, USA
Contact: info@khncenterforthearts.org / 402-874-9600

How to Apply: https://www.khncenterforthearts.org/residency/how-apply

Web Site:www.khncenterforthearts.org/re...

 Periapsis Music and Dance
Summary:Dance collaboration opportunity
Deadline: None
Date Posted: 06 March 2019
Details: Composer List: an ongoing opportunity for composers

Are you interested in seeing your music choreographed and/or developing new collaborations with dance artists? Choreographers are always searching for new music that speaks to them, and Periapsis Music and Dance is developing free resources to facilitate these collaborations:

The first such resource we’re creating is an uncurated list of composers interested in collaborating with dance, with links to the individuals’ websites. Choreographers from around the world will be able to peruse the list (also for free), visit your site, listen to your music, and get in touch if they’re interested. The list is organized by city, and you may enter up to two locations of residence.

To join the Composer List:

Create a free login on our login page.
Visit our Composer List page (also found under Information).
Click the “form” button on the right-hand column and fill out a quick Google form.
That’s it! We’ll verify your link and add you to the list within a few days, often sooner. Choreographers
searching for composers will then be able to easily find you.
The only requirement is that you be a composer with a website, and the site should have examples of your music and a way to contact you (or your representative)—if you have your own standalone site that’s great, but you can also use a SoundCloud page, New Music USA profile, etc. (Note: Please see the FAQ on our information page for some exceptions to this.) We will not post a link to an email address or to any site that appears to compromise the security of visitors.

Participating in no way obligates you to collaborate with anybody or offer your work for free if you don’t want to. It simply gives choreographers an easy way to find you and connect, knowing that you might be interested in hearing from them. Your stuff is already out there—this is just a tool to get you more traffic and more listeners, potentially including some people who would want to set your existing music or collaborate on a new project.

Also, this is not a competition. Aside from making sure the links aren’t spam or otherwise illegitimate, we don’t filter, and composers of all genres are welcome to participate. If you would like to be removed from the list at any point, or need to change your link, just send us a message at info@periapsismusicanddance.org. (We will also check the list periodically to remove broken links.)

We’re also developing other informational resources for artists working at the intersection of dance and music, with pages for choreographers about working with music and musicians, and for composers about working with dance. So please check in with us over the coming months, and thanks for participating!

More info:
Web Site:periapsismusicanddance.org/opp...

 The Space City New Music Festival
Summary:New Music Festival Composing and Networking Opportunity
Deadline: None
Date Posted: 06 June 2018
Details: The Space City New Music Festival (SCNMF) is a one-of-a-kind summer festival in Texas housed in the heart of downtown Houston near the Theater District at the new arts facility: Midtown Arts & Theater Center Houston.

SCNMF is a week-long summer festival that brings composers, performers, conductors, and teachers together to collaborate on newly composed works, study contemporary music, build lifelong relationships, and present 3 to 4 concerts for the community of Houston.

The 2018 Space City New Music Festival will be working and collaborating with:

- Guest Composer: Marcus K. Maroney
- Guest Artist: Crystal Chu (solo percussion)
- Guest Chamber Ensemble: 3G Percussion

Festival participants will have the opportunities to:
- Collaborate, promote, and perform newly composed works with guest artists
- Attend masterclasses and full-length concerts showcasing our guest composer, artist, and chamber ensemble
- Take composition lessons with guest composer, Marcus K. Maroney
- Perform for the community of Houston
- Each piece is guaranteed at least one performance by one of our guest artists.

Categories & required materials
I. Composer
- Completed 2018 Application
- up to 3 representative scores for any combination of instruments with a LIVE Recording/MIDI (preferably scored from 1-6 performers)
- A list of works
- A resumé OR CV
- (Optional) Up to 1 Letter of Recommendation
- (Optional) any other documents you want to share

II. Performers
- Completed 2018 Application
- up to 3 recordings (audio and/or video) of you performing in contrasting styles
- A repertoire list
- A resumé OR CV
- (Optional) Up to 1 Letter of Recommendation
- (Optional) any other documents you want to share

III. Conductors
- Completed 2018 Application
- Up to 2 videos (around 15 minutes total) of you conducting chamber and/or large ensembles (preferably contemporary music)
- A repertoire list
- A resumé OR CV
- (Optional) Up to 1 Letter of Recommendation
- (Optional) any other documents you want to share

IV. Auditors
- Completed 2018 Application
- A brief resumé

Web Site:www.spacecityperformingarts.or...