text:
Sunday Jazz – Madeleine Peyroux
The great Madeleine Peyroux has a new album in the shops now.
"Standing On The Rooftop" is weighted more towards her continually developing songwriting skills yet still has three of her typically inspirational cover versions.
Perhaps the most startling is her take on Robert Johnson's "Love In Vain", previously turned into a typical Stones R&B cover, however, Madeleine strips it back down to sound like it should totally tortured!
To buy the music of Madeleine Peyroux click HERE
Blues Monday – Julie London
Despite nearly featuring in my "Sunday Jazz" series Julie London wasn't really a jazz singer, but she possessed a definite jazz feeling and many of her finest albums (such as Julie Is Her Name and Julie…At Home) feature small-group jazz backings.
In a similar vibe her "About The Blues" wasn't really aimed at the true "blues" market but was aimed at the 1950s pop market, but it may just be her best orchestral session. Since downbeat torch songs were London's specialty, the album features an excellent selection of nocturnal but classy blues songs that play to her subtle strengths instead of against them. So as she sings below she had the view that "I Gotta A Right To Sing The Blues"
Julie usually included a couple of new songs in with a selection of standards, and her husband, Bobby Troup, wrote two excellent numbers for the album. One of them, the emotionally devastating "Meaning of the Blues," is the album's highlight, and was turned into a jazz standard after Miles Davis recorded it the same year for Miles Ahead.
To buy the music of Julie London click HERE
Sunday Jazz – Antonio Forcione & Sabina Sciubba
I am sure I have posted on this album before, however, given it is a real favourite of mine it's always worth another listen.
Combining Forcione's undisputed talent with the outstanding ability of Sabina, this recording is breathtaking in sound (as you would expect from a quality label like Naim which is up there with Linn) and performance quality.
Antonio teamed up with Sabina to produce a stunning album of jazz standards, beautiful original compositions and rearranged pop classics.
Sabina Sciubba is an international award-winning singer who has mesmerised audiences all over Europe with her unparalleled brilliance. Together with Antonio, these two artistic soul mates cast a musical spell whilst they create a stunning natural work, including a reworking of Lucio Dalla's homage to the great opera tenor "Caruso".
Their first and only album together is a rare sonic gem. A musical sensation which envelopes the listener with a rare genius as can be heard in this their take on Stevie Wonder's "Visions"
Despite its modest presentation, 'Meet Me In London' is Naim's best selling recording to date.
To buy the music of Antonio Forcione & Sabina Sciubba click HERE
Sunday Jazz – The Nat King Cole Trio
Almost a perfect Sunday Album.
The smoky, smooth pop vocals of Nat King Cole make us tend to forget that, at heart, he was essentially a jazz performer. His piano proficiency, vocal phrasing, and utter coolness all hark back to his jazz roots which are ideally demonstrated on this album.
Listening to him as pianist and not just as a vocalist, it is easy to understand why Diana Krall rates him as her primary influence, to the extent of recording a whole album in tribute to him and his Trio.
Nobody could sing "Sweet Lorraine" like Nat and he recorded it several times, the first with his Trio in December of 1943. After Nat evolved into more of a "singer" than a "piano player" in the 1950's, his jazz audience clamored for more of the "old Nat", and he obliged with the series of recordings which make up the "After Midnight" album.
During August and September of 1956, Nat invited some guest musicians in with him to re-record some of the old Nat King Cole Trio hits from the 40's like "Sweet Lorraine". In this instance, the great Count Basie sideman, Harry "Sweets" Edison took the honors on his trumpet.
Included was this version of Bobby Troup's "Route 66" unusual in the way that Nat sings "six six" and not the original "sixty six"
"Route 66" – Nat King Cole and his Trio
to buy the music of Nat King Cole click HERE
Sunday Jazz – Billie Holiday with Don't Explain
"Don't Explain" is a song written by jazz singer Billie Holiday and Arthur Herzog Jr, it is said that she wrote the song after her husband, Jimmy Monroe, came home one night with lipstick traces on his collar.
"Don't Explain" – Billie Holiday
Hush now, don't explain
Just say you'll remain
Unless you're mad, don't explain
My love, don't explain
What is there to gain
Skip that lipstick
Don't explain
You know that I love you
And what loving does
All my thoughts are real
For I'm so completely yours
Try to hear folks chatter
And I know you cheat
Right or wrong, don't matter
When you're with me, sweet
Hush now, don't explain
You're my love and pain
My life's your love
Don't explain
To buy the music of Billie Holiday click HERE
Sunday Jazz – Stormy Weather
The weather during the past week has seen the greatest degree of wind I have seen since I last scoffed an Ashoka vindaloo, therefore it gives the ideal chance to post the great Sinatra's version of "Stormy Weather" one of many great songs written by Harold Arlen and Ted Koehler.
Ethel Waters first sang it at The Cotton Club night club in Harlem. It has since been covered by artists as diverse as Frank Sinatra, Clodagh Rodgers, and Reigning Sound. Leo Reisman's orchestra had the biggest hit on records (with Arlen himself as vocalist), although Ethel Waters recorded version also performed well.
The song tells of disappointment, as the lyrics, "Don't know why there's no sun up in the sky" show someone pining for her man to return. The weather is a metaphor for the feelings of the singer; "stormy weather since my man and I ain't together, keeps raining all the time."
The original handwritten lyrics, along with a painting by Ted Koehler, were featured on the (US) Antiques Roadshow on 24 January 2011, where they were appraised for between $50,000 and $100,000. The lyrics show a number of crossings out and corrections.
Ethel Waters' recording of the song in 1933 was inducted in the Grammy Hall of Fame in 2003, and the Library of Congress honored the song by adding it to the National Recording Registry in 2004.
"Stormy Weather" – Frank Sinatra
Don't know why there's no sun up in the sky, stormy weather
Since my gal and I ain't together, keeps raining all the time
Life is bare, gloom and misery everywhere, stormy weather
Just can't get my poor old self together
I'm weary all the time, the time
So weary all the time
When she went away the blues walked in and they met me
If she stays away, that old rocking chair's gonna get me
All I do is pray the Lord above will let me
Walk in the sun once more
Can't go on, everything I have is gone, stormy weather
Since my gal and I ain't together
Keeps raining all the time
Keeps raining all the time
Can't go on, everything I have is gone, stormy weather
Since my gal and I ain't together
Keeps raining all the time, the time
Keeps raining all the time
To buy the music of Frank Sinatra click HERE
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text: As long as I can remember, I've always been fascinated by British mystery films or TV series. When I was a child, there weren't as many as they are now, to tell the truth, and the few I saw are still among my favorite films ever. Peter Ustinov's Poirot in "Death on the Nile" and "Evil Under the Sun" opened my eyes to the British elegance of acting and made me discover the joy of watching a genre considered up to that point"minor". Continue reading TV Recommendation: Grantchester ( ITV UK)

subset: commoncrawl


text:
Drug Profile
Research programme: CSF-1R monoclonal antibodies - Eli Lilly
Alternative Names: CS7; IMC CS7; Monoclonal antibody CS7Latest Information Update: 31 Mar 2016
Price :
At a glance
- Originator ImClone Systems
- Developer Eli Lilly
- Class Monoclonal antibodies
- Mechanism of Action Colony stimulating factor receptor antagonists
Orphan Drug Status
Orphan designation is assigned by a regulatory body to encourage companies to develop drugs for rare diseases.
On Fast track
Fast track status is assigned by the US FDA so therapies with the potential to address unmet needs can move faster through development.
- New Molecular Entity Yes
Highest Development Phases
- No development reported Solid tumours
Most Recent Events
- 31 Mar 2016 No recent reports on development identified - Preclinical for Solid tumours in USA (Parenteral)
- 15 Nov 2011 Pharmacodynamics data from a preclinical study in Solid tumours presented at the 23rd AACR-NCI-EORTC International Conference on Molecular Targets and Cancer Therapeutics (AACR-NCI-EORTC-2011)
- 01 Jun 2011 Preclinical development for Solid tumours in USA (Parenteral)


text:
this is an interim post, starting with a little chart I use as a reality check, when all the noise, dust of battle, fog of war, and confusion obscures what is really happened so far. It is a good view of the battle from an elevated position, with the noise filtered out, which is what Point & Figure charts are supposed to do:
This is an End-Of-Day ( EOD )(not Explosive Ordinance Disposal) Chart, showing the % of Stocks in the GDM, in Bullish P & F formations. Admittedly it lags due to the inherent (designed-in) lag in Daily P & F charts, but provides us a valuable check on what has happened VS what the noise and dust makes us think happened.
Essentially this oft called "Sentiment" index, shows a re-trace down to 30% from a Rally High of 42% earlier this year, coming off a Quadruple Increase from 10% to 42% off the Rally that started in December 2013, which of course we have corrected by this move to 30%, which the Charting Program interprets according to its Rules, as a Correction within a Bull Trend. Since it is part of a Rule-Driven SOP, it is then without emotion, a good think to note. That being the case as well as many of my Usual Suspects in the PM Complex retaining their base, I can both emotionally and intellectually agree with the "Bull Correction" call the StockCharts P&F Charting program Conclusion. Stay turned, there is more, but I am on the jump so I will be back with more later
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"All you NEED, Nothing you Don't ! "
SIGN UP on the side Bar and arm yourself for the struggle, your already in it !!
New features coming your way monthly, stay tuned.


text:
Large Orchestra Competitions & Call for pieces
Orchestra Workshop July 2017 (date tbc) | |
Summary: | Orchestra Workshop |
Deadline: | 06 May 2017 |
Date Posted: | 13 March 2017 |
Details: |
CALL FOR SCORES - works for full (but not Wagnerian) symphony orchestra, ideally between 3-7 minutes. Works for full orchestra = 2222 (possibly triple woodwind), 4331, timps, perc, strings. Also of particular interest in this call - piano concertos. NO ENTRY FEE. The Bristol Millennium Orchestra is planning a composers' workshop on Monday 17 July 2017 (date tbc) on 2 or 3 new pieces, playing through with composers present. The aim is to give composers an opportunity to hear their orchestral works tried out, and for the orchestra to experience some more new music. Please email scores (ideally Sibelius file and pdf) ideally plus mp3 to John Pitts at firstname.lastname@example.com with your contact details. [No Dropbox please]. Please also say whether you're likely to be able to attend (Clifton, Bristol, UK). Composers of selected pieces will be contacted soon after the deadline and will then need to provide a set of parts (at their own cost). We'll aim to record the sessions for each composer's interest. Please read this: At our last call for scores we received over 150 scores - so please do not send in scores for anything other than full orchestra: we cannot consider anything where any of our players are left out, nor pieces that need additional forces (except possibly triple woodwind/piano/harp). Also, please no unusual seating arrangements (if we were subsequently to decide to programme it in a concert, it would need to be practical to perform). We are an amateur orchestra who perform a good range of music, and we sound best when the instruments are well-written for and being well used - bare scores may sound great but can be less enjoyable to play, and it is frustrating for players to count 92 bars rest before playing their only three notes! Ie: purposeful, rich, inclusive scoring is good - scoring which feels as good quality as established romantic/20th-century/film orchestral repertoire. On this occasion we'd also be particularly interested to receive piano concerto scores (of any length). |
Web Site: | www.bristolmillenniumorchestra.co.uk |
Sounds of Silences 2017 - an international competition of musical composition for the moving image | |
Summary: | Film Music Competition |
Deadline: | 15 May 2017 |
Date Posted: | 08 March 2017 |
Details: |
The Edison Studio collective, with the support of the Italian Society of Authors and Publishers (SIAE) for the project "SIAE – Classics of Today", and with the collaboration of the Cineteca di Bologna (Film Archive of Bologna) and the Romaeuropa Festival 2017, announces the "Sounds of Silences" international competition of musical composition for the moving image. The aim of the competition is to stimulate musical creativity in its interaction with the audiovisual media, particularly for the reinterpretation of historical silent films and the creation of new soundtracks for them, with a special concern for timbre in instrumental, electronic and electroacoustic music of today. In the preliminary stage of the competition entrants must submit an audiovisual work the musical part of which they themselves have composed, which must be sent by 15th May 2017. An international jury consisting by Simon Atkinson (composer and lecturer at Media School, DMU University Leicester, U.K.), Brett Battey (composer, visual artist, and reader at Media School, DMU University Leicester, U.K.), Andrew Bentley (composer and professor of Music Technology at Sibelius Academy, Helsinki), Anders Mattias Bye (composer, pianist and author of soundtracks for silent movies), Giulio Latini (Professor of Multimedia Communication at Universitŕ di Tor Vergata – Rome), Kent Olofsson (composer and professor at Inter Arts Center – Lund University, Svezia), Paolo Pachini (composer. video-artist and professor of Audiovisual composition at Conservatory of Music – Trieste), Barry Truax (composer and professor at Simon Fraser University Vancouver, Canada) will then select five finalists among the entrants, who will be invited to create a soundtrack for a medium-length movie from the silent film era chosen by Edison Studio in collaboration with the Cineteca di Bologna. The 2017 edition is dedicated to Buster Keaton's movies. This work must be completed and sent by 15th November 2017. An international jury consisting of Monique Veaute (the president of the jury and the president of Romaeuropa art and culture foundation), Alvin Curran (composer), Andrea Ravagnan (Cineteca di Bologna), Ivo Nilsson (composer) and Giulio Latini (Multimedia Communication professor at "Tor Vergata" University of Rome), will award cash prizes to the finalists during a public event scheduled for 25th November as part of Romaeuropa Festival 2017 at Macro Testaccio La Pelanda , Rome. The total prize money to be awarded amounts to € 6,000. The competition is open to all composers of any nationality born after 31/12/1981. Participation in the competition can be either individual or collective. The organizers of the Sounds of Silences competition hope that the finalists will make a valid contribution towards redefining the meaning, aesthetics and conceptual structures of cinema before the advent of soundtracks, not simply by "accompanying" the images on the screen, but by revealing their original hidden content, thereby giving a new voice to what was previously silent. For more information: email@example.com |
Web Site: | www.edisonstudio.it/en/promotion/concorso-sounds-of-silences/ |
Listening to Ladies and Ctrl-Z | |
Summary: | Competition for female composers |
Deadline: | 01 June 2017 |
Date Posted: | 08 March 2017 |
Details: |
Listening to Ladies and Ctrl-Z are excited to announce a call for scores, due Thursday June 1st, 2017. Composers of any age and nationality who identify as women, nonbinary, or gender fluid are invited to submit scores for live performative electronics for a series of concerts to take place in California and New York in the Fall of 2017 (venues/dates to-be-determined). The program will showcase hugely important yet often overlooked contributions to the history of electronic music by women alongside new pieces written by non-cis-male composers working on the cutting edge of experimental electronic and electroacoustic music. The resulting program will be recorded and released by Ctrl-Z in late 2017/early 2018. Ctrl-Z is a live electronics group that focuses on composed works for live electronics, either written explicitly for the medium or interpreted as such. Pieces are typically realized with a diverse array of electronic equipment, including computers (with custom Max/SuperCollider/PD patches as well as commercial software), modular synthesizers, homemade circuitry, test equipment, and video/projection equipment. Since the available catalog of compositions written for these types of ensembles is fairly small, there is not an extensive literature to reference when writing. However, previous works performed by Ctrl-Z have employed the following kinds of notation: 1) Text (instructions written on how to realize the work with the a timeframe/timeline) 2) Graphic notation (graphics with definitions and keys to realize sound) 3) Traditional notation (staff notation to realize timbre variations in classic pitch/rhythm structures). Please note if traditional notation is exclusively used, there should be reason as to why electronic instruments must be used as opposed to acoustic instruments. 4) Color (using colors to delineate timbre variations) 5) Video/Projection (using graphics or video to realize sonic ideas in a way that is fixed to thetimescale of the video) In many instances, works performed by Ctrl-Z have utilized combinations of the above notation techniques. To this in mind, we strongly encourage all submitters to not hold back on their creativity when exploring musical ideas for live electronics. Ctrl-Z is currently made of three members, but we often bring on additional performers to augment the group. While we do not discourage pieces using acoustic instruments, we will not consider electroacoustic works with electronics that are simply functioning as audio processing for acoustic instruments. We are seeking works for live performative electronics. If a submission includes a written instrumental part, in addition to parts written live performative electronics, we will surely consider it. Interested composers can submit up to two pieces can be of any length. Works may have been previously performed, and there is no submission fee. We will accept 2-4 works, which will be programmed for our Fall concerts, and released on record. However, if we find more than the allotted number of chosen pieces to be of high quality, we will add them to our catalog to be potentially played/recorded at a later time. HOW TO SUBMIT: Email the following to email@example.com by 23:59 EST, Thursday June 1st, 2017: 1) PDF score(s)/photo(s) of the piece(s) (maximum is 2 pieces). Program notes are not required, but if they are included with the score, please remove your name and any other personal/identifying information that may appear in them (please keep/display the titles of the pieces though). 2) MP3 sound files for each piece submitted (if applicable). 3) A separate PDF containing: the title(s) of the piece(s), the name of the composer, and contact information for the composer – email, phone number, and website address if available. You may also include a brief bio (no more than 150 words) on this document (optional). Again, remember to ensure that no information identifying you is on the score or in the filenames (please keep/display the titles of the pieces though). The number of compositions selected for inclusion is dependent on the pool of works received. The compositions will be selected by the Ctrl-Z performers with administrative help from Listening to Ladies staff. Selected composers will be notified by email by Friday June 16th, 2017. Selected composers must be prepared to supply parts and other performance materials for their compositions by Saturday July 1st, 2017 in order to allow the performers enough time to rehearse them (if applicable). THE COMPOSERS WILL RETAIN ALL OWNERSHIP, PUBLISHING, PERFORMANCE, AND DISTRIBUTION RIGHTS TO THEIR WORK. We do not seek exclusivity or any rights to artistic works. We will perform, record, release, and promote the music, but the composer reserves all rights to do with the work what they see fit, forever. Details regarding the recorded release of works will be discussed in full with the top selected composers once the call is finished and they have been notified. If you have questions, please email Elisabeth Blair at firstname.lastname@example.com. ABOUT CTRL-Z Ctrl-Z is a group dedicated to the performance of composed music for live electronics. Founded by Ryan Page, Daniel Steffey, and Nick Wang in 2015, the group often finds itself in collaboration with other musicians, who perform on both electronic and acoustic instruments, to realize these works. Using an array of modular synthesizers, computers, homemade circuitry, test equipment, and other machinery, they have commissioned new works for the medium, as well as realized classic pieces, or adapted open-ended instrumentation scores to fit their means of performance. Music in their repertoire includes works by John Cage, Pauline Oliveros, Luc Ferrari, Johanna Beyer, Lou Harrison, Ryan Ross Smith, Alvin Lucier, and those in the group, among others. They are always accepting new pieces submitted by living composers, as well as realizing more classic works by pioneers of the genre. For more information you can visit: https://ctrlzmusic.wordpress.com/ ABOUT LISTENING TO LADIES Listening to Ladies showcases non-cis-male composers through online features, a concert series, and a podcast. Learn more at http://www.listeningtoladies.com. |
Web Site: | ctrlzmusic.wordpress.com/call-for-works/ |
Snow Pond Composers' Workshop | |
Summary: | Intensive Workshop |
Deadline: | 15 April 2017 |
Date Posted: | 01 March 2017 |
Details: |
The Snow Pond Composers Workshop at Snow Pond Music Festival is a week of intensive input and experiences for creative growth for composers at both the graduate and undergraduate level. In addition to private lessons and Master Class sessions with faculty composers, participants will explore new imaginative territories with immersion instructional and practicum sessions on improvisation, and an array of techniques for integrating improvisation into one's compositions. Time will be provided for on-site composing, and participants will have a short piece for violin, viola, and/or flute performed, critiqued, and recorded by Visiting Performing Artists Maya Bennardo, Hannah Levinson, and Peter H. Bloom. In addition to welcoming traditional approaches to composition, we are also receptive to composers whose work incorporates electronics, improvisation, jazz, rock, and other diverse elements into the compositional mix. Program Highlights • Master Class sessions and private lessons with faculty composers. • Instructional sessions dedicated both to honing traditional compositional skills and to intensively exploring a wide range of approaches to improvisation. These include both techniques for integrating improvisation into one's compositions and presentations on interactive computer systems for use by improvising musicians. • Exploration of the violin, viola, and flutes (bass, alto, concert, and piccolo) through presentations, readings, and performances of short pieces by Visiting Performing Artists Maya Bennardo, Hannah Levinson, and Peter H. Bloom. • Receptive to both traditional composition and to composers whose work incorporates electronics, improvisation, jazz, rock, and other diverse elements into the compositional mix. • Time for composing and processing new materials and ideas. • Intimate and supportive environment for networking with peers and professional staff. • Affordable tuition includes lodging, meals and use of New England Music Camp's waterfront, recreational equipment and facilities. Snow Pond Composers Workshop Faculty: Dr. Richard Nelson, Composer, Professor of Music, University of Maine at Augusta. Program Co-Director. Dr Edward Jacobs, Composer, Professor of Music, East Carolina University. Program Co-Director. Dr. Frank Mauceri, Guest Composer, Bowdoin College Peter H. Bloom, Visiting Performing Artist (Flute) Maya Bennardo, Visiting Performing Artist (Violin) Hannah Levinson, Visiting Performing Artist (Viola) Application Requirements Participants must be over the age of 18 and are selected on the basis of ability and supporting materials. As the application process is on a rolling basis with a maximum of 15 students, we encourage you to apply early. 1 One letter of recommendation to be sent via the Applicant Materials Submission site. 2 $75 application fee* Audition: Sample recordings and scores (see requirements below) |
Web Site: | snowpondmusicfestival.com/programs/snow-pond-composers-workshop/ |
360 XOCHI QUETZAL: Free Artist Residency in Central Mexico. | |
Summary: | Residency Opportunity |
Deadline: | 30 July 2017 |
Date Posted: | 22 February 2017 |
Details: |
The 360 XOCHI QUETZAL Artist and Writer's Residency Program is located in Chapala, Jalisco, Mexico on the shores of the largest lake in the country where the perfect year-round climate and stunning lake and mountain views have long established the region as an international artist mecca. Residents will be inspired by the natural beauty, history and culture of this special part of central Mexico. Chapala is located 25 minutes from Guadalajara International Airport and 45 minutes from Guadalajara, one of the largest cities in Mexico boasting abundant cultural resources: museums, galleries, theatre and artist supplies. Xochi Quetzal is the Aztec goddess of creativity and fertility and protector of artisans. She is sure to inspire you during your stay! MISSION: Our aim is to support artists, writers and musicians who would benefit from having uninterrupted time to devote to their creativity. By providing free housing and five gourmet meals a week, we hope that our residents can make artistic progress without the stress and distractions of daily life.* CRITERIA: National and international visual artists, photographers, writers, playwrights, new media makers and musicians over the age of 23 are welcome to apply for the competitive residency. We base our selections on artists who demonstrate artistic accomplishment, submit a well-conceived residency project, indicate that this residency will make a significant impact and provide evidence of the self-reliance required for a residency in the developing world. Two-person collaborative teams are also encouraged to apply. JURORS: Alice Fogel, Juror for Writers and Musicians Alice is the State Poet Laureate of New Hampshire (USA) 2014 – 2019 and recent winner of the Nicholas Shaffner Award for Music in Literature for her book Interval. Alice is the author of three poetry collections, including, Be That Empty (Harbor Mountain Press, 2007). She is also author of Strange Terrain: A Poetry Handbook for the Reluctant Reader (Hobblebush Books, 2009). Alice teaches creative writing and poetry at Keene State College, Keene, NH and Landmark College, Putney, Vermont. http://www.alicebfogel.com/ Justin Lytle, Juror for Musicians Justin R. Lytle is an artist, comhttp://www.alicebfogel.com/poser, and designer based in Northern California. Justin holds a BFA from Cornish College of the Arts, and his work is found in various public and private collections. Justin is a classically trained pianist, and uses the medium of sound design as a foundational tool for his contemporary sculpture practice. He is the owner of Studio Arno, a small design studio, and he composes for the Seattle based music project Holy Cities. Justin was the second Resident at 360 Xochi Quetzel and has now joined us as the music juror. www.justinlytle.com Deborah Kruger, Juror for Visual Artists Deborah is the founder of 360 Xochi Quetzal and a mixed media artist who exhibits internationally. Her work in mixed fibers and screen printing is in private collections throughout North America. View her work at www.deborahkruger.com RESIDENCY DATES: Winter residency: December 14, 2017 - January 13, 2018 Additional residencies will be announced to our mailing list. To add your name, please click on the box at the top of our webpage: www.360xochiquetzal.com You may also write to us in either English or Spanish at firstname.lastname@example.com WINTER DEADLINE AND NOTIFICATION: The deadline for the Winter 2017 Residency is Midnight Mountain Time on Sunday July 30, 2017. Applicants will be notified no later than Sunday September 10, 2017. APPLICATION GUIDELINES: You must submit your application through the CAFE website: https://www.callforentry.org/ Applications without work samples will not be considered (3 images for Visual Artists, 1 - 2 videos for Musicians, 5-page double-spaced writing sample for Writers, 10-page double-spaced sample for Playwrights, 5-page single-spaced sample for poets). Please familiarize yourself with CAFE which is a great website with many other artist listings and opportunities (see specifications below for more details). We do not accept email entries. ONE-MONTH RESIDENCY APPLICATION FEE AND DISCOUNT: The application fee for the competitive one-month residency is $39.00. Take advantage of our 20% Early Bird Discount for applications received before June 25, 2017. Artists who are re-applying for one-month qualify for a $9 discount using our Coupon Codes. Only one discount will apply. You can download more information about Fees and Discounts from our website: http://360xochiquetzal.com/discounts/ APPLICATION SPECIFICATIONS: You may download more information about how to apply a Discount Code, How to Check Out and file specifications for video and writing submissions on our website: http://360xochiquetzal.com/how-to-apply/ *RESIDENCY AWARD: Winners of the competitive residency receive a free live/work space for one-month. Two writing residents will reside in the main residency house, which is in a hacienda style home with individual bedrooms/work spaces and shared living/dining room space. We have several live/work spaces a few doors away that each have a private kitchen, living room, bedroom and full bathroom and are geared towards musicians and visual artists. Your residency also includes free wi-fi, all utilities, laundry on the premises, weekly maid service and a 27-page Residency Handbook. Our new Guest Chef Program: Winter 2017 residents will be able to eat communally five evenings a week at the main residency house and enjoy gourmet meals (and leftovers!) prepared by our Resident Culinary Artist, who will consider your special dietary restrictions. If you know someone who would like to apply for this position, have them write to us at firstname.lastname@example.com COSTS: You are responsible for your travel to and from Mexico. It is easy and safe to take an airport taxi which will cost $400 pesos to Chapala. Download driving directions from our Facebook Page: 360 Xochi Quetzal (join us too!). You will also need to pay for your local transportation, entertainment and some additional food. International calls can be made via skype or by getting a local cell plan from IUSAcell (ATT affiliate). Food is inexpensive in Mexico, typically costing about $20/week US. Eating out is quite affordable with meals costing $3 - 10 US. STUDIO SPACE AND EQUIPMENT: For both personal and competitive residencies, we provide work tables and wall space for visual artists, desks and free wi-fi for writers. There is a professional easel for painters. Our Lower Casita has a Cress sample kiln for ceramic artists, which can fire up to cone 6 and is suitable for small ceramic or metal clay pieces. There is a 33" floor loom in our Middle Casita for weavers. NEW RENTAL PROGRAM (design your own residency): If our competitive residency dates do not work for your schedule or if you do not win this year, consider renting one of our live/work spaces for 1 - 6 months. You do not have to apply through CAFE, just check our website for descriptions and pictures of the spaces and available dates http://360xochiquetzal.com/personal-residency-overview/. This is a perfect opportunity to finish a manuscript, prepare for a show, collect your thoughts, plan your next body of work. Read of some of the interviews with creatives who have come to Chapala for a personal residency. Email us at email@example.com and let us know what month(s) you want to come and we will start the reservation process. We take reservations on a first come first serve basis and we are usually booking 6 months in advance. Plan ahead if you want to come in the winter! WHAT IS CHAPALA LIKE? In a word, charming. This is a small town with a population of 22,000. You will hear horses trotting along the cobblestone boulevard in the morning on their way to the stables. Cowboys ride by using their cell phones. Birdsong accompanies you throughout the day. In the winter, thousands of white pelicans entertain us on the lake. Trees blaze with psychedelic color year round. The mountains turn green during our four-month rainy season (June - Sept). Vendors pass by during the day hawking fresh strawberries, bottled water, and ice cream.Read more about Chapala on our website: http://360xochiquetzal.com/the-magic-of-lake-chapala/ FUN: All live/work spaces are walking distance to a park with a running track, pool, tennis courts and walking trails. We are also 5 minutes from the malecon, a park-like promenade that runs along the lake for a mile. The lake is surrounded by hundreds of mountains and you will enjoy spectacular sunsets almost every night. The weather is sunny 300 days a year with average daytime temperatures in the 70s. Other nearby activities include hiking, dancing and thermal springs. COMMUNITY: Chapala and nearby Ajijic have dozens of cafes, galleries, cultural centers, art openings, and hundreds of artists to connect or study with. Everything you need is within walking distance and our bus service is frequent and inexpensive. This is a safe place to live, work and the residency houses are secure. MISC: Although speaking a little Spanish will make your time here more culturally integrated, you do not need to speak the language to get what you need. You are just a 5 minute walk from many stores, restaurants and buses. HOUSE RULES: Competitive residents may be able to invite your spouse/significant other depending on our accommodations; check with us before making plans. If there is space, we charge a $200/month surcharge per guest prorated for the length of their visit. Your children and pets are not permitted (there are many bed and breakfast hotels nearby for visitors). Smoking, drugs and firearms are expressly prohibited. NON-DISCRIMINATION: 360 Xochi Quetzal encourages applications from artists of all backgrounds and does not discriminate on the basis of age, race, national origin, religion, creed, sex, sexual orientation, HIV status, marital status, disability, or veteran status. Please join our mailing list at the top of our webpage: www.360xochiquetzal.com For more information, write to us at firstname.lastname@example.com Join/Like us on our Facebook Group Page: 360 Xochi Quetzal Follow us on Twitter: @360XochiQuetza360 XOCHI QUETZAL: Free Artist Residency in Central Mexico. |
Web Site: | www.callforentry.org/festivals_unique_info.php?ID=4110 |
Masterclasses COMPOSITION | |
Summary: | Masterclass and competition |
Deadline: | 18 May 2017 |
Date Posted: | 14 February 2017 |
Details: |
MUSIC COMPOSITION masterclasses will be taught interchangeably by Prof. Ofer Ben-Amots (Colorado College, USA) and Prof. Jan Jirasek (Prague, Czech Republic) Students can bring with them any current project they would like to develop or complete. Additionaly, all students will have an opportunity to participate in the chamber composition contest and will be able to work with professional performers during the second week. Participating compositions will be performed in an open concert during the competition on the second Thursday. The composer's matinee with all compositions will be recorded. THE JOSEPH DORFMAN MEMORIAL COMPOSER'S COMPETITION All ISAM participating composers are invited to partake in an international competition annually. This competition is intended to increase the excitement, energy, and creativity among our hand-picked young and talented composers, while at the same time generate a harvest of new, beautiful, and highly artistic works. The competition carries the name and blessed memory of ISAM co-founder, composer, pianist, musicologist, teacher, and visionary leader, professor Joseph Dorfman (1940-2006.). Winning compositions will be repeated at the Gala Concert and prize giving ceremony.This years theme-motive is typical of A. Ginastera's musical language. Prize money 2016 1st winner: 1000.- € 2nd winner: 500.- € 3rd winner: 250.- € |
Web Site: | www.isam-masterclasses.de/composition-masterclasses.html |
The Choir of Christ's College, Cambridge | |
Summary: | Choir Competition |
Deadline: | 01 May 2017 |
Date Posted: | 08 February 2017 |
Details: |
Exciting news of a new composition competition. Notice of Prize Competition Christ's College Grace Composition Prize To all members of Christ's College past and present: The choir alumni of 1982 are sponsoring a competition open to all members to compose a choral setting to the Latin College Grace. The winning entry will receive a prize of Ł200, and the setting will be performed by an alumni choir at the College Reunion Dinner on 23 September 2017. The closing date for entries is May 1st 2017, and the winner will be announced in late May. Full details of the requirements are attached. Christ's College Grace Composition competition Entry eligibility: All members of Christ's College, Cambridge Entry deadline: 1 May 2017 Requirements: Entrants should provide a choral setting of the Latin College Grace, set to the text below. The four-part arrangement should be for unaccompanied SATB choir. The intention is for a choir of former Christ's choristers to perform this piece with minimal rehearsal opportunity. It should therefore be of a standard that enables a competent group of choristers to perform it after two run-throughs. The length of the piece should be compatible with a pre-dinner grace. Grace text: Exhiliarator omnium Christe Sine quo nihil suave, nihil jucundum est: Benedic, quaesumus, cibo et potui servorum tuorum, Quae jam ad alimoniam corporis apparavisti; et concede ut istis muneribus tuis ad laudem tuam utamur gratisque animis fruamur; utque quemadmodum corpus nostrum cibis corporalibus fovetur, ita mens nostra spirituali verbi tui nutrimento pascatur Per te Dominum nostrum. Competition logistics: Entries must be sent by email to Dr David Rowland, College Director of Music, by 5.30pm on 1 May 2017 (firstname.lastname@example.com). The judging panel will comprise Dr Rowland and alumni representatives. We hope that the college choir will sing shortlisted entries at an adjudication in May 2017 at which the winner will be announced, date yet to be confirmed. The winning piece will have its first public performance at the alumni reunion dinner on 23 September 2017. The College will own copyright in the setting. Prize: The composer of the winning entry will receive a cash prize of Ł200 and an appropriate certificate. |
Web Site: | www.facebook.com/permalink.php?story_fbid=10154401098638175&id=173640423174 |
Spheres of a Genius. 100 years of Thelonious Monk. | |
Summary: | Call for Scores / Composition Competition |
Deadline: | 01 June 2017 |
Date Posted: | 08 February 2017 |
Details: |
A jazz composition competition by JAM MUSIC LAB in cooperation with the Vienna Radio Symphony Orchestra. To celebrate the occasion of the 100th birthday of Thelonious Monk, JAM MUSIC LAB - Conservatory for Jazz and Popular Music Vienna is organizing an international composition competition. In cooperation with the Vienna Radio Symphony Orchestra, which will be extended to include jazz soloists, the prize-winning work will be premiered on July 7th, 2018 in the Golden Hall of the Vienna Musikverein. Prizes 1st prize: The winning composition will be premiered by the Vienna Radio Symphony Orchestra and Jazz Soloists in the Golden Hall of the Vienna Musikverein on June 7th, 2018 and broadcasted as part of the Ö1 radio programme. The prize money is 5.000 EUR. 2nd prize: 3.000 EUR 3rd prize: 2.000 EUR Idea and outline of the competition Thelonious Monk was one of the most innovative artists in jazz music, whose contribution opened up exciting new avenues for this music. As Monk also utilised a vocabulary that was also being used by contemporary classical composers, the competition is supported by the Vienna Radio Symphony Orchestra. Monk and the core repertoire of the RSO Wien are close to each other in many respects. JAM MUSIC LAB has developed the idea of "Spheres of a Genius" in honor of the 100th birthday of one of the most important personalities of modern jazz and is responsible for the realization of this competition. The aim of the contest is to create music that will reflect the spirit of Thelonious Monk from a contemporary perspective; to provoke inspiration for further innovation, originality and musical communication in contemporary jazz. The composition should be intended to offer a demanding and an up-to-date podium for the exploration of exciting interrelationships of jazz in its composed, as well as improvised forms. The "Sounds" and "Spheres" in the unmistakable musical innovations of Monk are very much prevalent in the possibilities that composed music offers us, especially when a large orchestral composition calls for the orchestra to interact with jazz idioms and jazz musicians. |
Web Site: | www.jammusiclab.at/pages/spheres-of-a-genius/ |
HighSCORE Composition Programmes | |
Summary: | Composition Programmes |
Deadline: | 14 April 2017 |
Date Posted: | 08 February 2017 |
Details: |
FULL PROGRAMME As a participant in the Full Composition Program, you will: • have YOUR music played by our professional musicians in the festival's evening concerts held at cultural and historical sites throughout Pavia. All concerts are professionally recorded and filmed: the recordings will be shared with all the composers on the last day of the festival. For the 2017 edition you can submit music for: string quartet with or without electronics; flute (piccolo, soprano, alto or bass) and guitar (classical, electric or mandolin) duo with or without electronics; clarinet (Bb, A clarinet or basset horn) and piano, solo or duo, with or without electronics (max duration: 6 minutes); • be mentored during the rehearsal of YOUR music. You may also be contacted by our professional players before the festival via email or Skype for a first reading of the score together; • attend a lecture and a masterclass with our Guest of Honor Prof. Fabio Vacchi; • attend a masterclass with Prof. Christopher Theofanidis; • present YOUR music at the Composition Colloquium, a daily masterclass led by Prof. Amy Beth Kristen. Prof. David Ludwig, and Prof. Dmitri Tymoczko. You will receive a public composition lesson from one of them and you will receive feedbacks by all the other participant composers; • have private composition lessons with Prof. Amy Beth Kristen, Prof. David Ludwig, and Prof. Dmitri Tymoczko. You will have a private lesson with each of them, excluding the one who will give you a public lesson during your Composition Colloquium; • attend daily lectures on composition, contemporary techniques, idiomatic writing, and advanced music theory by our faculty Prof. Amy Beth Kristen, Prof. David Ludwig, Prof. Dmitri Tymoczko, Prof. Giovanni Albini, and by our musicologist in residence Prof. Giovanni Cestino; • attend workshops by Prof. Amy Beth Kristen ("Building Collaborative Theatre Works"), Prof. David Ludwig ("Next Stop Bergamo: Now Arriving at Pierrot Lunaire"), Prof. Dmitri Tymoczko ("Theory for Composers"); • attend seminars and daily lessons by Prof. Giovanni Cestino ("Italian for Composers and Musicians"), and Prof. Marina Giovannini ("German for Composers and Musicians"); • sing in the highSCORE choir conducted by Prof. Riccardo Lorenzetti; • be a member of the highSCORE New Music Center, and join one of the largest international networks of contemporary music, accessing new opportunities, commissions, collaboration and performances. An interview with you led by our musicologist in residence, Prof. Giovanni Cestino will be published in the highSCORE Proceedings 2017, and your biographical information will appear in our database; You will also have access to: • a welcome buffet; • an outstanding workshop on Italian cooking; • a guided tour of the city of Pavia; • two dinner parties; • all the festival's concerts. The tuition for the Full Composition Programme is 1,799 euros. Tuition includes full accommodation in a shared room on the university campus from August, 7 (check-in) to August, 19 (check-out). Each apartment is equipped with kitchen, bathroom, air conditioning, and free wireless internet connection. The facility also includes a study room, a self-service laundry, a bicycle parking area, a newly built fitness center, a beauty SPA, covered and open air pools, and a cafeteria. A roommate will be assigned to each participant, unless preference for a specific roommate is otherwise stated. A free transportation pass for city buses as well as a festival personal ID card will be provided to every participant. Our English speaking staff is available 24 hours a day. Not covered in tuition is airfare, passport fees, transportation to/from the festival, meals, laundry, phone charges, activities/entertainment during free periods, supplementary maid service, any insurance, etc. LIGHT PROGRAMME As a participant in the Light Composition Program, you will: • attend a lecture and a masterclass with our Guest of Honor Prof. Fabio Vacchi; • attend a masterclass with Prof. Christopher Theofanidis; • audit the Composition Colloquium, a daily masterclass led by Prof. Amy Beth Kristen, Prof. David Ludwig, and Prof. Dmitri Tymoczko; • attend daily lectures on composition, contemporary techniques, idiomatic writing, and advanced music theory by our faculty Prof. Amy Beth Kristen, Prof. David Ludwig, Prof. Dmitri Tymoczko, Prof. Giovanni Albini, and by our musicologist in residence Prof. Giovanni Cestino; • attend workshops by Prof. Amy Beth Kristen ("Building Collaborative Theatre Works"), Prof. David Ludwig ("Next Stop Bergamo: Now Arriving at Pierrot Lunaire"), and Prof. Dmitri Tymoczko ("Theory for Composers"); • attend seminars and daily lessons by Prof. Giovanni Cestino ("Italian for Composers and Musicians"), and Prof. Marina Giovannini ("German for Composers and Musicians"); • sing in the highSCORE choir conducted by Prof. Riccardo Lorenzetti; • be a member of the highSCORE New Music Center, and join one of the largest international networks of contemporary music, accessing new opportunities, commissions, collaboration and performances. An interview with you led by our musicologist in residence, Prof. Giovanni Cestino will be published in the highSCORE Proceedings 2017, and your biographical information will appear in our database. You will also have access to: • a welcome buffet; • an outstanding workshop on Italian cooking; • a guided tour of the city of Pavia • two dinner parties; • all the festival's concerts. The tuition for the Light Composition Programmeis 1,299 euros. Tuition includes full accommodation in a shared room on the university campus from August, 7 (check-in) to August, 19 (check-out). Each apartment is equipped with kitchen, bathroom, air conditioning, and free wireless internet connection. The facility also includes a study room, a self-service laundry, a bicycle parking area, a newly built fitness center, a beauty SPA, covered and open air pools, and a cafeteria. A roommate will be assigned to each participant, unless preference for a specific roommate is otherwise stated. A free transportation pass for city buses as well as a festival personal ID card will be provided to every participant. Our English speaking staff is available 24 hours a day. Not covered in tuition is airfare, passport fees, transportation to/from the festival, meals, laundry, phone charges, activities/entertainment during free periods, supplementary maid service, any insurance, etc. |
Web Site: | www.highscorefestival.com/program.asp |
The Joliet Symphony Orchestra at USF's Composition Competition 2017 | |
Summary: | Community Orchestra Competition |
Deadline: | 01 June 2017 |
Date Posted: | 01 February 2017 |
Details: |
The JSO seeks to broaden the repertoire for college/community orchestras, recognize outstanding composers, and bring new music to our audiences. Awards The winning piece will be performed on a JSO concert during the 2017-2018 season. Honorable Mentions will be awarded as well and considered for performances on future concerts. Eligibility The Piece: - suitable for a college/community orchestra - length under 10 minutes - instrumentation not to exceed 3232/4331/Tp+2/Hp/Str (piccolo, English honr, and bass clarinet doublings are allowed) - written in 2010 or later The Composer: - no age limit - no geographical limit - no entry fee - limit 1 submission per composer Criteria Beyond standard criteria (idiomatic writing and orchestration, lack of notational errors, etc.), the following traits will be valued: - sensitivity to the variety of skill levels in college/community orchestras' string sections - rewarding parts for all players, especially those with traditionally less-involved parts To Enter Email the following materials to firstname.lastname@example.com by April 15, 2017 11:59 p.m. CST: - contact information: name, email address, phone number - PDF of full score - PDF of first violin part - link to recording of live or MIDI performance (if available) Announcement of Winners Winners will be announced on June 1. The first-prize winner is expected to submit PDFs of all parts by July 1. |
Web Site: | www.jolietsymphonyorchestra.org/composition-competition.html |
Fifteen-Minutes-of-Fame: Admiral Launch Duo | |
Summary: | Duo competition |
Deadline: | 01 May 2017 |
Date Posted: | 01 February 2017 |
Details: |
Fifteen-Minutes-of-Fame: Admiral Launch Duo, saxophone & harp Vox Novus is calling for one-minute pieces composed for saxophone and harp duo. 15 one-minute works will be selected for Fifteen-Minutes-of-Fame: Admiral Launch Duo, saxophone & harp to be premiered December 1, 2017 at Bezanson Recital Hall of the University of Massachusetts, Amherst. Submission Guidelines: -Works should be composed specifically for this project and performers. -Works should be for saxophone (tenor, alto, soprano) and concert grand harp duo only. No solos. -Electronics/tape accompaniment will be considered. Please submit your playback only in AIFF format (no other formats will be accepted for playback). Clearly state in your performance notes and on the score that the work is with electronic playback. -All pieces must be premieres and not previously performed. -No works over a minute will be reviewed. -Multiple submissions are not accepted. Send your best work! -Works need to be submitted online at http://www.musicavatar.org/categories/30102 -You will need to register with Music Avatar for free to submit your work online. -After logging in to Music Avatar, select the opportunity named " Fifteen-Minutes-of-Fame: Admiral Launch Duo, saxophones & harp " to submit work. -You will need to provide a maximum 50-word biography and 50-word program notes. -You need to upload a score as a PDF file (Audio files are encouraged but not required.) -Include individual parts as part of the score. -Please include the dedication to Admiral Launch Duo on the score. (Performance notes should be included in the score.) Composers will be contacted via email of the results and will be announced via the Fifteen-Minutes-of-Fame website. The Admiral Launch Duo explores new sounds for harp and saxophone. Equally at home in acoustic and electroacoustic settings, saxophonist Jonathan Hulting-Cohen and harpist Jennifer R. Ellis have developed their repertoire through ground-breaking commissions, unexpected transcriptions, and improvisation. They have collaborated with composers including Dylan Arthur Baker, Matthew Browne, Christine Hedden, Jasper Alice Kaye, Natalie Moller, Patrick O'Malley, and Stephen J. Rush. Fresh Inc. Festival alumni and three time residents at Avaloch Music Institute, the Admiral Launch Duo has toured through Michigan, California, and the Northeastern U.S. Committed to creative scholarship, they have presented at the inaugural Northwestern University New Music Conference (NUNC!), North American Saxophone Alliance Biennial Conference, and the Humanities Education and Research Association Conference. They are upcoming fellows of the UMass Interdisciplinary Studies Institute, exploring musical themes of trespass. The Admiral Launch Duo enjoys working with students of all ages and has worked with high schoolers on both coasts of the United States as well as given masterclasses at Michigan State University and Schenectady County Community College. They take a comprehensive and versatile approach to community engagement, playing for the University of Michigan Social Justice Art Festival, UM-CAPS Suicide Prevention event, and The Friendly Kitchen, a soup kitchen in Concord, New Hampshire. Their 2015-2016 season included appearances at Center for New Music (San Francisco), Michigan State University, The Hartt School, Kerrytown Concert House (Ann Arbor, MI), Schenectady County Community College Chamber Music Series, UMass Amherst, Listening to Ladies Concert Series at Kalamazoo Piano Company, North American Saxophone Alliance at Texas Tech University, Harps Etc. (Walnut Creek, CA). As recent awardees of the FRG/Healy Grant, they will be recording their debut album for release in 2017. Committed to pushing the boundaries of harp performance, Jennifer R. Ellis (D.M.A. University of Michigan, M.M. Cleveland Institute of Music, B.M. Oberlin) has performed over fifty premieres. She was the first ever harpist to be named a One Beat Fellow, a program through the U.S. State Department with Found Sound Nation, and the first ever harpist to attend Bang on a Can, Fresh Inc., and Splice summer festivals. She has received the Alice Chalifoux Prize, Rackham Centennial and Graduate fellowships, AT&T Foundation and Conservatory Deans' scholarships, and holds prizes in the Ann Arbor Society for Musical Arts, Coeur d'Alene Young Artists, LMC of Seattle, and Inez Stafford competitions. She has played with Britten Pears, Spark Festival, American Wind Symphony Orchestra, National Orchestra Institute, and Texas Music Festival. She performs with Jonathan Hulting-Cohen in contemporary harp and saxophone ensemble, the Admiral Launch Duo, three-time Avaloch residents with a debut recording funded by a UMass FRG/Healy grant set to release in 2017. She has published in The American Harp Journal and Harp Column Magazine and teaches harp and eurhythmics. An inaugural UM Engaged Pedagogy Initiative Fellow, Ms. Ellis trained in community-based learning and collaborates on a variety of community engagement projects. She is an in-demand clinician and has given over a dozen university masterclasses/guest workshops in 2015-2016. www.harpellis.com "Impressive" with "exceptional facility (Schenectady Daily Gazette), Jonathan Hulting-Cohen's refined and compelling saxophone playing has been heard worldwide. As a soloist, he has performed with the Philadelphia Classical Symphony and Tulare County Symphony Orchestra, and in recitals across the US and France. His nouveau-vaudeville saxophone sextet, _The Moanin' Frogs_, has appeared nationwide in concert and on television, including at The Kennedy Center, Texas Bandmaster's Association Conference, and in Strasbourg, France. His harp-saxophone duo, _Admiral Launch,_ has toured coast-to-coast and recorded for NAXOS. He studied Carnatic music in India, and premiered his film, _Silence,_ at the World Saxophone Congress in 2015. Jonathan is Assistant Professor of Saxophone [2] at University of Massachusetts Amherst. He earned his BM and MM under Donald Sinta at the University of Michigan. Jonathan is a Conn-Selmer and D'Addario Woodwinds Artist, performing on Selmer (Paris) saxophones and D'Addario Reserve reeds. http://www.jonathanhultingcohen.com/ |
Web Site: | www.musicavatar.org/categories/30102/ |
International Antonín Dvořák Composition Competition | |
Summary: | Competition with Several Categories |
Deadline: | 07 April 2017 |
Date Posted: | 18 January 2017 |
Details: |
1st Round Application 1. Application Deadline: postmarked by Friday 7 April, 2017 2. Submission a. Application form : 1 copy ( Download) b. Composition : 6 copies (1 Work, Free composition) Approximately 5-20 min., In accord with the styles and genres recommended Competition categories. * Composition categories include genres of music spanning from classical to modern traditional music (sixteenth century style – twentieth century style) and includes no restrictions in regards to instrumental or vocal works. However, electric and microtonal music will be excluded as a rule. All compositions must be done on the staff(five-line) sheet music. [Guideline] (1) Vocal Works All vocals both religious and secular are acceptable. Performance type (solo, duet, choral) is not restricted. Solo works or duets must be accompanied by a multi-voiced(polyphonic) instrument. In the case of trios or multiple voices, however, the accompaniment of a instrument is not necessarily required. Accompaniments may include piano or other traditional orchestral instruments. Traditional folk instruments from the participant's country are permitted as well. (2) Instrumental Works No restrictions of performance type (solo, duet, trio, etc…) Solo instrumentals must be accompanied by a multi-voiced (polyphonic) instrument. In the case of duets or multiple instruments, an accompanying multi-voiced (polyphonic) instrument may not benecessary. Native folk instruments are also acceptable. c. Compositional Outline : 6 copies (A4 size, optional) d. Curriculum Vitae (Self-Introduction or Biography) : 1 copy (A4 size, within 250 words) e. ID Picture (3×4cm, Color) : 2 pieces f. CD recording or cassette : 1 copy (optional; does not affect results) g. Application fee receipt * (Notice) All documents must be sent to the address of the steering committee in Korea. 3. Other points to notes a. The following works are not permitted. Already published works or works recorded for commercial purposes. Officially performed pieces, even if only in partial arrangement. Imitations or arrangements of existing works. Works which have received prizes at other competitions. Compositions by more than one composer. b. To insure fair judging the composer's name should not be included on the sheet music. c. All signatures and musical notation should be in accordance with internationally agreed rules of musical notation, and if any marks are used which are not in accordance then they should be mentioned in the compositional outline. d. Indicate any transposing instruments according to their characteristics. e. Submitted material (Application, Self-Introduction, Compositional Outline) should be written in standard English with either a computer word processor or type-writer. Only compositions may be submitted by hand. f. If submitting a CD or cassette tape, record so that each movement may be clearly distinguished. g. Applications and Self-Introductions may be sent either by mail or e-mail. Other materials should be submitted by mail as specified . (If registering by e-mail, Microsoft Word is recommended for all documents.) h. As soon as the submitted materials are received the steering committee will send confirmation. i. The steering committee does not take any responsibility for lost mail. k. The application fee should be deposited in our committee's exclusive account and registration is only completed once it is confirmed that the fee has been paid. l. There will be no refunds of the application fee or return of submitted materials. m. within the same group(Junior/Senior), a participant may apply for the competition three times at maximum. 4. 1st Round Application Fee : 30 EUR (excluding transfer fee) Bank name : WOORI BANK SOCHONAM BR. Bank address : Seoul, Korea Account no : 1081-300-492512 / SWIFT CODE : HVBKKRSEXXX Beneficiary Customer : SEOULORATORIO IADCC Customer Address : Unamneopolis, Gwanakro 144, Gwanak-gu, Seoul, Korea Tel : (+82) 2 587 9272 / Fax : (+82) 2 587 9276 5. Steering Committee of 1st Round Address : International Antonín Dvořák Composition Competition Committee Unamneopolis, Gwanakro 144, Gwanak-gu, Seoul, Korea (Postal Code 08791) Tel: (+82) 2 587 9272 Fax : (+82) 2 587 9276 E-mail : email@example.com http://www.facebook.com/IADCC 6. 1st Round Results 1st Round results will be announced on Saturday 20 May on the homepage and mail or e-mail confirmation will be sent to the individual participants. |
Web Site: | www.iadcc.kr/first |
Applications to the 2017 SaM Summer School are now open! | |
Summary: | Summer School |
Deadline: | 30 March 2017 |
Date Posted: | 18 January 2017 |
Details: |
Deadline for applications Thursday 30th March at 12 noon. There are 2 ways of applying to the Sound and Music Summer School: 1. Online This application form will take you through the requirements and ask you to give information about yourself and attach examples of your music. There is also an equal opportunties form to fill out too. You will receive a standard e-mail acknowledging your application. You can find them here: Application Form (the Equal Opportunities is linked to the main application form) 2. By Post Please contact Judith Robinson if you wish to apply by post Email: firstname.lastname@example.com // call: 020 7759 1800 What will I need to make an application? Here are a few things to help you with your application: -You must be aged 14-18 on 31st August 2017. -You must be based in the UK, or a UK citizen living overseas. The application form asks you for your contact details and some information about you including: -Describing your style of music in the form of a tweet (140 characters)! -Naming 3 pieces of music you have been listening to recently and why you like them. -Writing up to 250 words telling us why you want to take part in the Summer School. Remember to tell us about what experience you have of composing music (whether at school, independently, or with a composition teacher) and any musical activities you're involved in. -Giving an example of your music, which you can upload to the application form. We need a score (a written down version of your music).There are some examples of different score formats below. -You can also send us a recording of your piece if you have one, but this is not essential. -Writing up to 250 words telling us about your piece, along the lines of a coursework log. There are some examples of coursework logs below. We would also like you to complete an Equal Opportunities form. This information is kept separate from your application and is not used during the selection process. The information helps us understand who applies to the Summer School and who gets selected. |
Web Site: | www.soundandmusic.org/projects/applications-2017-sam-summer-school-will-open-january/apply |
Summary: | Young composers' competition |
Deadline: | 01 June 2017 |
Date Posted: | 12 January 2017 |
Details: |
TACTUS YOUNG COMPOSERS' FORUM 2017 writing for orchestra The seventh edition of the Young Composers' Forum - September 2017 Launched in 2003, this biannual event offers the opportunity for young composers to increase their understanding of what is involved in writing for a symphony orchestra and chamber ensemble. A maximum of six composers, to be selected on the basis of an online submission, will be given the privilege of workshopping a work or part of a work (a movement) of about 10 minutes in length with the Brussels Philharmonic and the ensemble Musiques Nouvelles. The working sessions will be followed by discussions in the presence of internationally renowned composers. Lectures will also be given on various aspects of composing as well as other topics related to composers' careers, etc. At the end of the sessions an international reading panel will select one or more works that may be programmed by a professional orchestras. In the past these have included the Orchestre National de Lille, the National Orchestra of Belgium, the Flemish Radio Orchestra, the BBC Symphony Orchestra and the Brussels Philharmonic. The seventh edition of ['tactus], Young Composers' Forum, will take place in Brussels and Mons, Belgium, from September 25th to 29th, 2017 under the presence of maestri Ann McKay, Jean-Paul Dessy, Kimmo Hakola, Claude Ledoux, and others to be confirmed. The event will take place in Brussels, Belgium from September 25th to 27th (orchestral session with the Brussels Philharmonic) and in Mons, Belgium from September 27th to 29th (chamber music session with Musiques Nouvelles). Applications can be submitted exclusively online via the Ulysses platform from December 12th, 2016. Deadline for submission: June 1st 2017 Applications accepted exclusively online via the Ulysses platform: ulysses-network.eu/web/competitions/ |
Web Site: | ulysses-network.eu/web/competitions/tactus2017/ |
An Opportunity for New Music | |
Summary: | Performance Opportunity |
Deadline: | 01 January 2018 |
Date Posted: | 10 January 2017 |
Details: |
This year I am starting a new project geared toward promoting new repertoire for trumpet. My plan is to produce a video of one brand new piece for trumpet and piano each month, making digital downloads of the sheet music available for sale through my website as each video is released. What I'm looking for is classical works for trumpet and piano. These can be any length, any style, any difficulty level, whatever inspires you most, but I'm looking specifically for works that have never been performed or recorded before! I have the first 3 months worth of pieces chosen already but if I'm going to be able to carry this on in the future obviously I will need many more pieces! Submitting a piece does not guarantee that I will select it for performance, but if I do select your piece I will let you know which month the video will be premiering and 50% of any sales of the music will go to you! Thanks for considering being a part of this. I know this is a lofty goal but I'm really looking forward to this project and hopefully with your help it will work to bring more attention to new music and create a broad library of new repertoire for the trumpet over the coming years! If you have questions or would like to submit a work you can reach me at email@example.com Thanks! |
Web Site: | www.michaelbrest.com/composers |
Email: | firstname.lastname@example.com |
Kimmel Harding Nelson Center for the Arts | |
Summary: | Residency Opportunity |
Deadline: | 01 September 2017 |
Date Posted: | 10 January 2017 |
Details: |
Next Residency Deadline March 1, 2017 The Kimmel Harding Nelson Center for the Arts, located in Nebraska City, NE offers from fifty to sixty juried residencies per year to visual artists, writers, composers, and interdisciplinary artists from across the country and around the world. The Center accommodates up to five artists at a time for stays that vary from two to eight weeks. Each resident is provided with private bedroom, private bathroom, their own studio space, fully equipped kitchen and a weekly $100 stipend for the duration of their stay. All residents are selected by a discipline-specific panel of professionals with decisions based on the quality of the proposal and the support materials submitted. Nebraska artists and those transitioning from graduate school receive special consideration. Two application deadlines per year. September 1 and March 1. Applicants are required to apply online through our Slideroom portal: https://khncenterforthearts.slideroom.com/#/Login A non-refundable application fee of $35 applies. For more info visit http://www.khncenterforthearts.org or call 402-874-9600, email info{at}khncenterforthearts{dot}org The Center offers a letterpress studio with a Vandercook Sp15 press and a standard proof press. The Harry Duncan Letterpress Studio also features a variety of furniture and fonts, an inventory of tools and inks, as well as a boxcar base for resident use. |
Web Site: | www.khncenterforthearts.org/ |
Audio Mostly 2017 "Augmented and Participatory Sound/Music Experiences" | |
Summary: | Call for contributions |
Deadline: | 31 March 2017 |
Date Posted: | 04 January 2017 |
Details: |
The Audio Mostly organising committee would like to welcome researchers, interaction designers, engineers, artists, practitioners, audio professionals, and anyone interested in sound as a medium of interaction, to Audio Mostly 2017. The conference will be held on 23-25 August 2017 at Queen Mary University of London (QMUL), UK. Audio Mostly is an interdisciplinary conference on design and experience of interaction with sound that prides itself on embracing applied theory and reflective practice. Its annual gatherings bring together thinkers and doers from academia and industry that share an interest in sonic interaction and the use of audio for interface design. This remit covers product design, auditory display, computer games and virtual environments, new musical instruments, and education and workplace tools. It further includes fields such as the psychology of sound and music, cultural studies, system engineering, and everything in between in which sonic interaction plays a role. The 2017 edition will be a lively and sociable mix of technical presentations, posters, demos, concerts, and workshops. Audio Mostly 2017 is organised by the Centre for Digital Music (C4DM) at Queen Mary University of London (UK), which is a world-leading multidisciplinary research group in the field of music/audio science and technology. As in previous years, the Audio Mostly 2017 proceedings will be published by the Association for Computing Machinery (ACM) and made available through their digital library (TBC). Papers, demos and workshop proposals will be double-blind peer reviewed. Conference Theme "Augmented and Participatory Sound/Music Experiences" At the intersection between augmentation ("the action or process of making or becoming greater in size or amount") and participation ("the action of taking part in something") lies the idea of expanding how we interact with our environment and becoming actively involved in situations. Applied to science, the arts, health and the environment, these themes invite to push back the frontiers of design and interactions, to propose new artistic formats adapted to audience creative interventions, or to improve accessibility and empower people. Both augmentation and participation are linked to the sense of agency; augmentation generally implies increased degrees of freedom or access to new information, and participation in design or the arts involves a redistribution of the roles between designers/artists and users/audiences. The concept of augmentation can be applied to a wide range of objects (e.g. musical instruments, concert stage, garments, everyday objects), situations/actions (e.g. live performance, mixing, cooking), and reality itself with "augmented reality" systems and displays providing new sensory information. Participation can be applied at different stages of the production-consumption chain. For instance, participatory design gathers designers and users to conjunctly create artefacts, and participatory art leads to shared contributions from artists and audience participants. What is the potential of sound/music in facilitating augmentation and/or participation? Augmentation and participation both have the potential to transform our emotional or personal association with situations, people and objects. How does augmentation and/or participation applied to sound/music affect our life and experiences? What are their advantages and what are their drawbacks? Audio Mostly 2017 encourages papers, music, demos, and workshops addressing such questions and others related to the conference theme and topics. We welcome multidisciplinary approaches involving fields such as human computer interaction, music informatics, information and communication technologies, sound design, visualisation, composition, perception/cognition and aesthetics. Please visit our calls for papers, music, demos, and workshops for more detailed information. Colocation with 3rd Web Audio Conference (WAC) The conference will be collocated with the 3rd Web Audio Conference (WAC) "Collaborative Audio" (21-23 August 2017), with one day, Wednesday the 23rd, a common day between the two events. Participants will have the opportunity to attend both events at a discounted rate. |
Web Site: | audiomostly.com/contributions/ |
Fifteen-Minutes-of-Fame: Party of Four, flute quartet | |
Summary: | Quartet Competition |
Deadline: | 20 May 2017 |
Date Posted: | 28 December 2016 |
Details: |
Fifteen-Minutes-of-Fame: Party of Four: flute quartet Vox Novus is calling for one-minute pieces composed for flute quartet. 15 one-minute works will be selected for Fifteen-Minutes-of-Fame: Party of Four: flute quartet to be premiered October 20, 2017 at Maybrook Senior Center in Maybrook NY Submission Guidelines: -Works should be composed specifically for this project and performer. -Works should be for flute in C, with the option of one piccolo and one alto flute. -All pieces must be quartets -All pieces must be premieres and not previously performed. -No works over a minute will be reviewed. -Multiple submissions are not accepted. Send your best work! -Works need to be submitted online at http://www.musicavatar.org/categories/30097 -You will need to register with Music Avatar for free to submit your work online. -After logging in to Music Avatar, select the opportunity named "Fifteen-Minutes-of-Fame: Party of Four: flute quartet" to submit work. -You will need to provide a maximum 50-word biography and 50-word program notes. -You need to upload a score as a PDF file (Audio files are encouraged but not required.) -Please include the dedication to Party of Four on the score. (Performance notes should be included in the score.) Composers will be contacted via email of the results and will be announced via the Fifteen-Minutes-of-Fame website. About the Ensemble: The Party of Four flute quartet was initially developed in 2014 out of the fledgling Maybrook Wind Ensemble as a need for a fuller concert, but has since evolved into it's own group frequently performing around the Hudson Valley area of New York. Amateur musicians who have never given up their love for music, Party of Four have forged a bond and commitment to each other and to music and have grown both individually and as a quartet. Coached by Lish Lindsey and Kevin Scott, the quartet has performed for the Warwick Valley Farmers Market, the Warwick Humane Society, Monroe Woodbury Rotary club, and Elant of Newburgh, as well as at all Maybrook Wind Ensemble performances. Party of Four hopes to continue to serve the Hudson Valley area bringing music to our local communities and promoting a love of the arts through music. Kathryn Jones-Pisano is the principal flutist for the Maybrook Wind Ensemble and president of the MWE. Kathryn is a retired literacy teacher who now works part-time as an adjunct instructor at Dutchess Community cCollege and as an educational consultant for The Thriving Classroom. While continuing to "dabble" with the piano after high school, Kathryn did not play her flute for nearly three decades; at the urging of her church's organist, she returned to playing in church on Sundays, but six years ago, she began looking for greater challenges and began ensemble playing. She now revels in playing with the Maybrook Wind Ensemble and The Party of Four flute quartet. She wants everyone to know that you never lose your musical talents, and she encourages everyone to dust off those instruments and join us at the Maybrook Wind Ensemble in making joyful music. Amy Klein – saxophonist and flutist. Amy's first instrument was an alto saxophone, which she played during grades 5 -12. In high school, she also played a soprano saxophone. When she was 18 years old, she added a flute to the mix. In 2006, shortly after Amy moved to New York from Wisconsin, she joined the SUNY Orange Symphonic Band. Director, Kevin Scott, encouraged her to fine-tune her skills on all three instruments. In addition to joining the Maybrook Wind Ensemble (2014-present), Amy is a participating member of the challenging, but rewarding, Party of Four flute quartet. It gives her great pleasure to play music for concerts, fund-raisers, and benefits. She owns an Altus-Azumi flute and a Phil Barone alto saxophone Kenneth Korn has been a music teacher in Paramus, NJ for over 30 years. He teaches vocal music and directs elementary and middle school orchestras, bands and choruses. The varied nature of his work requires he be a 'Jack of all trades and master of none.' Playing flute in the Maybrook Wind Ensemble and Party of Four quartet with his supportive and wonderful partners has given him the opportunity to finally develop some competence on an instrument he has always enjoyed. Ken is a native of Buffalo NY, a graduate of Washington University in St. Louis, with a degree in Education, the Crane School of Music, where his performance concentration was in voice, and Montclair State University in New Jersey where he has a Masters in Music. For the past 30 years he has resided with his wife Kristin in Warwick. They have 2 grown children, Anders and Ingrid. Deborah Proulx began playing flute at the age of 10, and by high school was studying with Victor Just, principal flute of the NY Metropolitan Opera (1965-1976). Throughout high school she participated in chamber groups, musical theater pits, All County, Area All State and All State conferences in New York before putting music on the back burner to pursue college, career and family. After a 20+ year hiatus (and urging from her musical children) she joined the SUNY Orange Symphonic Band, and then went on to become a founding member of the Maybrook Wind Ensemble, under the direction of Kevin Scott. As part of this new ensemble, Deborah also co-founded the Party of Four flute quartet, where she often doubles on Alto Flute. An ABA certified Paralegal and NYS Certified Code Enforcement Officer, Deborah works in the office of Building and Planning for the Village of Monroe. |
Web Site: | www.musicavatar.org/categories/30097/ |
Beta Omicron's Fourth Annual Call for Scores | |
Summary: | Write for beginners |
Deadline: | 16 April 2017 |
Date Posted: | 28 December 2016 |
Details: |
This spring, the Beta Omicron chapter of Kappa Kappa Psi will be holding their Fourth Annual Call for Scores to give composers a chance to see their works put into action! Composers may submit pieces for wind chamber ensembles written at a beginning/intermediate level (grade 2-3). Pieces submitted will be performed by a ensembles comprising of Brothers of the Beta Omicron chapter of Kappa Kappa Psi. Participants will receive a recording of their piece, as well as a feedback sheet from members of the ensemble. For more information: |
Web Site: | theregoesbo.org/events/call-for-scores/ |
International Competition for Band Composition "Saints" 2016/2017 Edition "St. John XXIII" | |
Summary: | Wind Competition |
Deadline: | 30 April 2017 |
Date Posted: | 28 December 2016 |
Details: |
Composition to promote and increase the music composition and the current repertoire. In particular, the aim of the Competition is to create an original literature due to the figure of St. John XXIII, by selecting a series of useful pieces to complete the production of a CD devoted enti- rely to his figure. It will be part of a series of CDs, for different instrumental ensembles, dedicated to various figures of Saints, published by BAM International sŕrl (Geneva-Switzerland) under the patronage of the Pontifical Institute of Culture in Vatican (Italy). Requirements 1) The Competition is open to composers of all nationalities, without age limits. Competitors can take part with only one composition. 2) The compositions must be stylistically appropriate to the theme of the Competition, unpublished, never performed, nor broadcasted by radio, television and / or streaming, nor presented, awarded and / or reported in other competitions, and must follow a gui- deline of the type of the tracks of the second category, in the level of execution difficul- ties. 3. 3) The piece must be composed on a meditation of St. John XXIII to free choice of the composer. 4. 4) The composition must have a minimum duration of 6 minutes and no longer than 10 minutes. 5. 5) The compositions must be compatible with the following maximum organic: o - C Piccolo (optional) o - C Flute 1-2 (2nd part optional) o - Oboe 1-2 (2nd part optional) o - Bassoon 1-2 (2nd part optional) o - Eb Clarinet (optional) o - Bb Clarinet 1-2-3 o - Alto Clarinet (optional) o - Bb Bass Clarinet o - Bb Soprano Sax (optional) o - Eb Alto Sax 1-2 Modality • - Bb Tenor Sax • - Eb Baritone Sax • - Bb Trumpet 1-2-3 (3rd part optional) • - Bb Cornet/Flugelhorn 1-2-3 (3rd part optional) • - F Horn 1-2-3 (3rd part optional) • - C Trombone 1-2-3 (3rd part or Bass Trombone optional) • - C Euphonium 1-2 (2nd part optional) • - C Bass 1-2 (2nd part optional) • - String bass (optional) • - Timpani (2 boilers) • - Percussion (including keyboards, tubular bells and other accessories for up to 4 players) • - Harp (original) The numbers for each entry indicate the maximum subdivision of the parts. The absence of the instruments in italics (optional) should never affect the performance and in any case it must be planned to be replaced in the steps "required" and/or "only" with the word (cue). Given the specific destination of the compositions, it is permissible to use: Soloists (also not typically bands' instruments), Voice, Voice Over (on public domain text). |
Web Site: | www.bam-music.org/contests/composition-competitions/ |
2017 NAfME Electronic Music Composition Competition | |
Summary: | Schools' Competition |
Deadline: | 01 April 2017 |
Date Posted: | 14 December 2016 |
Details: |
About the Competition The NAfME Electronic Music Composition Competition recognizes outstanding compositions and highlights the effectiveness of music technology in the school curriculum. Entries will be judged based on their aesthetic quality, use of electronic media, and the power of the composition. Association member adjudicators will select a winner in each of the following categories: • Grades K-8 • Grades 9-12 • Collegiate • Each entrant must be sponsored by an NAfME member teacher, or be a NAfME Collegiate member in good standing. • Compositions should be 5 minutes or less and should either be composed electronically or include electronic instruments (vocal and/or acoustic instruments may be combined with electronic instruments) • View Competition Winners from Previous Years How To Apply • 2017 Electronic Music Composition Competition Rules and Entry Directions • Deadline for submissions is April 1, 2017 • All applications are submitted on online through GetAcceptd.com Log on to getacceptd.com, or create a new account. Search for NAfME programs. Select "NAfME Original Composition Competitions" On the next drop-down menu, select "2017 NAfME Electronic Music Composition Competition." Upload a Mp3/audio file of the composition. Midi files are acceptable (from composition software applications). Submit payment for the application ($40). • Questions? Contact: Jill Staton The schools of the winners in each category will receive a one-year subscription to Soundation4Education, courtesy of MusicFirst. Soundation4Education is an online sequencing program that runs inside windows or mac browsers, with password protected access for teachers and students. It functions much like any popular sequencing program, allowing manipulation of over 1800 loops, audio editing, recording, mixing, effects and extensive MIDI features. It can be accessed from any computer 24/7, since it is cloud based and browser based. |
Web Site: | www.nafme.org/programs/contests-calls-competitions/nafme-electronic-music-composition-contest/ |
Busan Choral Competition | |
Summary: | Choral Competition |
Deadline: | 31 May 2017 |
Date Posted: | 30 November 2016 |
Details: |
Throughout its festival and competition history, Busan Choral has fostered cultural exchange and promoted high quality of choral music by attracting notable artists, conductors, and composers to one of Asia's top choral festivals. The Busan Choral Composition Competition seeks to engage with aspiring young composers and to encourage the creation and performance of new works written for the choral music genre. The 1st winning work will be premiered at the 2017 Busan Choral Festival & Competition during the week of September 6-9, 2017. Composer must be born between JUN 30, 1997 and JUN 30, 1977 (exceptions may be considered under the BCFC committee's review.) -3-10 minutes in duration -Piece must be for unaccompanied, equal or mixed voices choir. -Smaller, portable percussion instruments are allowed. (Xylophone, vibraphone and timpani not allowed). -Text can be chosen from Latin, English or Korean. If another language is chosen, a detailed English synopsis and pronunciation must be included in the score. -Compositions must not have been previously published or awarded in previous composition competitions and never publicly performed. Application: 31st May Deadline -Complete Online Application Form -Résumé/CV (*.doc / *.docx) -Copy of passport or ID Card with date of birth in JPEG format -Score in PDF format -English synopsis and pronunciation -Midi recording (by computer software) in MP3 format |
Web Site: | www.busanchoral.org/bcfc/competition/cc_guide02.asp |
Boston Young Artists Composition Program | |
Summary: | Programme for young artists |
Deadline: | None |
Date Posted: | 30 November 2016 |
Details: |
July 2-August 12, 2017 | Ages 14–19* Directed by Boston University Professor, ASCAP composer, teacher and pianist Martin Amlin, with Assistant Director Justin Casinghino, the Young Artists Composition Program (YACP) offers talented high school composers the unique opportunity to focus for six weeks solely on exploring and refining their compositional skills. *The Young Artists Composition Program is open to high school students who have not yet begun full-time college or conservatory study. Two private lessons per week Daily classes in analysis, score-reading, theory, and compositional techniques Small ensemble composition projects with weekly readings/recordings by BUTI students and faculty Full orchestral reading/recording with the BUTI Young Artists Orchestra Concert showcasing pieces written during the summer performed by BUTI students and faculty Master classes with some of the world's most esteemed music professionals (past visits and classes include John Harbison, David Del Tredici, Michael Gandolfi, Nico Muhly, Joan Tower, Richard Cornell, Joshua Fineberg, and Jonathan Newman) Access to Festival of Contemporary Music rehearsals and performances Access to all Boston Symphony Orchestra and Tanglewood Music Center concerts, as many as 15 events a week 6 hours of transferable Boston University course credit |
Web Site: | www.bu.edu/cfa/tanglewood/program/yacp/ |
Cove Park Artist Centre | |
Summary: | Residency Opportunity |
Deadline: | None |
Date Posted: | 14 September 2016 |
Details: |
Cove Park's brand new Artist Centre is now complete. Individuals and groups of up to 12 artists and makers from across disciplines and fields are now able to make use of the new centre for residencies from October 2016 to May 2017. The Artists Centre has brand new devising and workshop spaces, a large communal kitchen and snug, library and archive. Overlooking the firth of the Clyde, Cove Park is 1 hour from Glasgow on the Rosneath Peninsula. Please see the website for images under 'Cove Tour'. Our 10 individual, self-contained live/work pods and cubes are perfect for researching, reading and writing, and were designed to offer artists of all disciplines (working singularly or together) an uninterrupted focussed space to devise, explore, experiment or hone a creative project whilst in residence. We have 5 studios available to those needing additional room for small group work or individual making-space. Our new Artists Centre has a large wooden-floored room designed for movement and voice work, and a large, separate meeting room. We welcome artists from across the world and from all disciplines to Cove Park for residencies, allowing enriching and nourishing creative exchange. Your residency can be part of your professional development or an opportunity to step back and out of everyday life, to imagine new ways of working or plan or complete a commission. We have a sliding scale of reasonable hire charges to help you plan an invaluable residency at Cove Park. Residencies available October 2016 – May 2017. To send an enquiry please contact Catrin Kemp (Assistant Director). Location: All Scotland ,England, Wales, Northern Ireland, International For further information, please contact firstname.lastname@example.com (email@example.com), or call 07500791942, or visit http://covepark.org/ |
Web Site: | covepark.org |
Jordan College of the Arts Composers Orchestra Call for Scores 2016 | |
Summary: | Orchestral Competition |
Deadline: | 05 April 2017 |
Date Posted: | 07 September 2016 |
Details: |
Jordan College of the Arts Composers Orchestra Call for Scores 2016 Call for Scores – Jordan College of Arts Composers Orchestra 2016 The Jordan College of Arts Composers Orchestra of Butler University invites composers of all ages and in any stage of their career to submit scores to be considered for our upcoming concert seasons. Originally formed by Michael Schelle during the Ford Administration, the JCAco is not a standard orchestra, but a highly skilled, non-standard chamber group whose instrumentation changes each year, that is skilled in performing works that are text-based, improvisational, Fluxus spirited, and often theatrical, typically performing 5-7 concerts each year. Please send us fun, wacky, wry, off-beat, pointed, awkward, silly, non-specific instrumentation, improvisational, graphically notated pieces. Even though it says 'orchestra' in the name of our ensemble. ummmmm……… well, we typically don't have that kind of instrumentation. Works including voice, electronics*, found instruments, handmade instruments, or appliances are all welcome. *Electronic works should be easily able to be performed. Stereo fixed media and Max pieces that have been compiled into Runtime are best. Pieces that require more complicated setups are discouraged at this time. Length of works: 1-12 minutes maximum Composers may submit a maximum of two (2) scores in PDF format, along with complete composer contact information in a Zip archive. Each Zip archive should consist of one score, and one docx or pdf file with the composer's info, duration of the work, link to a recording of an actual live performance (if available – no MIDI realizations, please), instrumentation of the piece, and list of necessary tech items (if needed) on it. Send a separate Zip file for each submission. Please title each file like this: LastName_Firstnameinitial-#_TITLE.zip (i.e. Felice_F-1_ZOINKS.zip, and then Felice-F2_EGAD.zip for the second entry). Please do not send audio with your submission – instead, provide a link to Soundcloud, ReverbNation, etc. The pieces may have been already performed. Submit only full scores at this time. If selected, you will be contacted for performance materials. Electronic submission only – please place each submission into this Dropbox folder: https://www.dropbox.com/request/Fv8G78UxBz81pKFYvodJ |
Email: | email@example.com |
Wild Rumpus New Music Call | |
Summary: | Chamber Music Call |
Deadline: | None |
Date Posted: | 22 May 2014 |
Details: |
Deadline: Rolling. Wild Rumpus is happy to consider pieces by young/emerging composers that match our instrumentation (or a subset of it) for performance by the ensemble. Our instrumentation is: flute clarinet trombone piano percussion electric guitar soprano violin cello double bass Eligibility Composers who fall under at least ONE of the following categories are eligible to apply: (a) Composers under 40 (b) Composers of any age who are not regularly commissioned by ensembles of national or international prominence Application Materials For each piece, submit: Score (PDF) Recording (MP3) — some exceptions possible; please see our FAQ. A bio (suitable for printing in a concert program) and resume/CV There is no fee to apply. Please note that this call is rolling. We'll select pieces from the general call as needed, depending both on our interest in the piece and the logistical demands of the concert for which we're programming. |
Web Site: | http://wildrumpusmusic.org/general-call-for-scores/ |


text:
We all know that anime is a powerful gateway drug into Japanese culture. That's why the Japanese government wisely promotes the medium internationally. Anime fans have been known to: learn Japanese, buy kimono, brave sushi, order authentic ramen topped with naruto, study karate or even move to Japan.
This week's discussion question: What Japanese activities has anime inspired you to do?