Force of Nature: Forest & Bird’s Composition Scholarship

Force of Nature: Forest & Bird’s Composition Scholarship

Forest & Bird and the Performing Arts Community Trust (PACT) is proud to offer a chamber music composition scholarship for a young composer (aged under 25 on 1 September 2021).

Applicants will compose a work for a chamber music ensemble that focuses on any aspect of Forest & Bird’s role in protecting and restoring Aotearoa’s wildlife and wild places over the past 100 years.

The successful applicant will receive a $500 scholarship, the opportunity to work with professional New Zealand composers, and have your composition played by leading musicians. Your work may also be included in an Atoll Records recording alongside other original music created by the eight composers involved in this exciting project (see Background below).

If you love music and nature, this scholarship is for you, we can’t wait to see what you come up with!

Application requirements:

  • You may use any or all of the following instruments: 1 flute, 1 clarinet, 1 violin, 1 cello, piano, and small percussion for 1 player (commonly used instruments that can be easily carried by one person);
  • The work must be between 3–5 minutes in duration;
  • The work is to be played by professional musicians but the notation should not be unreasonably complex;
  • Your submission must be made electronically by emailing, and must include full score, edited parts, good quality audio recording, and a completed copy of the attached entry form. The audio recording must be of the music being played live and may be recorded on a device such as phone, tablet etc.

The applications will be assessed by Wayne Laird and Peter Scholes on behalf of Forest & Bird and PACT (The Performing Arts Community Trust) and one composition will be selected for the scholarship.

The successful composition shall be available to PACT, who will manage the scholarship, and will be considered for performance, recording, and broadcast.

APPLICATIONS close on 31 October 2021. Results will be sent by email on or before 20 December 2021. For an application form, please email: Jenni Murphy-Scanlon, CEO PACT, at

BACKGROUND: Forest & Bird has been protecting and restoring nature in New Zealand for nearly 100 years. To celebrate a century of conservation in New Zealand, the Performing Arts Community Trust is working with Forest & Bird on a unique project that combines music, history, and nature. PACT has received funding from Creative New Zealand towards the creation, performance, and recording of eight new chamber works in collaboration with Forest & Bird.

Lilburn Trust related talks in New Zealand Music Month Te Marama Puoro o Aotearoa 2021

With you having expressed interest in Lilburn Lectures and Archive of New Zealand Music events in the past, I thought you might like to know about three events planned for New Zealand Music Month that involve research projects funded by the Lilburn Trust.

Counting the beat, sounding the changes

Mathew Hoyes, Lilburn Research Awardee 2020

Thursday 6 May 2021, 4:30pm to 5:30pm

Programme Rooms, National Library Wellington

Mat Hoyes presents his project to create an online NCEA resource that analyses New Zealand rock and pop music.

Through his experience as a music teacher in New Zealand, Mat has identified a serious need of a resource for the study of New Zealand popular music. He has started compiling analyses for 200 rock and popular songs by New Zealand artists to develop a NCEA teaching resource. Mat will discuss his process for preparing the resource and how he expects it to be used. He will talk of the obstacles and challenges met in preparing the work and for making it available.

About the speaker

Mathew Hoyes is a secondary school music teacher, having taught at Taita College, Wainuiomata High School and Porirua College. He has a Bachelor of Music from Otago University and experience as a music producer, musician, composer as well as music video editing. He has performed in many bands playing both covers and original material. Mat has also taught music to private students and in prisons.

A Huia calls the Tui singing in a Kowhai tree

Michael Vinten, Lilburn Research Awardee 2020

Thursday 20 May 2021, 12:10pm to 1pm

Programme Rooms, National Library Wellington

Michael Vinten talks on his project of collecting, recording and publishing pre-1950 New Zealand art-song. Initially intending it to be one volume the project has now expanded to four.  Titled Call of the Huia, it is envisaged this new resource will be of great benefit to singers and students wishing to include New Zealand material into their repertoire. Each volume will include a sound recording of the songs, giving it a wider appeal to music lovers generally. In this lunchtime talk Michael Vinten will explain what constitutes a New Zealand art-song and the process of selecting material. This will include some interesting stories of past New Zealand composers, with wider links to New Zealand’s history. 

About the speaker

Michael Vinten has been the Wellington Chorus Master and Associate Conductor for New Zealand Opera for twenty-eight years, as well as conducting for many other opera companies and musical groups. Having studied music history and composition at Victoria University of Wellington he went on to study a Masters Degree in orchestral conducting at Cincinnati University.

Gamelan Aotearoa

Gamelan Padhang Moncar, introduced by Dr Anton Killin, Lilburn Research Fellow 2021

Monday 31 May 2021, 6pm to 7:30pm

Te Ahumairangi, National Library Wellington

‘…rhythmic intricacy, hypnotic patterns, sheer sonic power, and refreshingly different tunings…’ Experience gamelan at the National Library with Wellington’s Gamelan Padhang Moncar (Dir. Budi Putra), introduced by Dr Anton Killin.

Gamelan first arrived in New Zealand in 1975 when Allan Thomas imported a set of instruments from Java to Victoria University of Wellington to support ethnomusicology teaching, with a performing ensemble soon being formed. There are now ensembles based around the country. Composers who were subsequently inspired to write works for gamelan include David Farquhar, Judith Exley, Megan Collins and Lilburn Fellow Anton Killin, whose works feature in this concert, along with that of Dedek Wayhudi from Indonesia and others.  Anton’s research will focus on cross-cultural music composition in New Zealand relating to the use of Indonesian gamelan. Gamelan has been a significant cultural influence on New Zealand composers since it was introduced. 

About the speaker

Dr Killin studied music composition and philosophy at Victoria University of Wellington, with cross-cultural music being the focus of much of his research. Since being awarded his doctorate in 2017, he has held post-doctoral fellowships in Australia, USA, and Canada.  

Blackboard Theatre Collective – The Isolation Mixtape Vol. 2

Blackboard Theatre Collective is proud to announce The Isolation Mixtape Vol. 2, a project in partnership with the Christchurch Symphony Orchestra.
We are currently seeking New Zealand-based composers and songwriters to take part in a 72-hour Musical Theatre Songwriting Challenge.

Call for Online Recordings—ISCM Virtual Collaborative Series

Dear CANZ Members

Last spring, ISCM called for links to music that would be included in their social media project ISCM Virtual Collaborative Series.

They are asking members to submit links to recorded performances – both audio and video – legally public and accessible on the Internet.

The goal of the project is to foster presence and coverage of contemporary music online via social media, to tease and entertain an audience looking for a new musical experience into getting acquainted with the best contemporary music available.

The COVID-19 pandemic has made online activity more crucial than ever before by hindering numerous live events, many concerts included. Now is the right time to strengthen the online presence of contemporary music!

ISCM are planning to showcase individual composers and works on the ISCM Facebook page. For this promotional purpose, they are mainly interested in recordings that are already publicly available on YouTube or SoundCloud. These could be easily added to playlists on the ISCM YouTube Channel and the ISCM SoundCloud page. However, they are open to suggestions of recordings on other online platforms, too, as long as the linked material may be made accessible legally.

There has been a long-term concern among ISCM delegates about a lack of interaction among membership in between ISCM festivals. ISCM hopes that their social media project will, in its small way, help to motivate accessible discussions online, keeping the community more engaged. They also hope that these Facebook Showcases will build bridges between different types of contemporary music, composed and performed in various regions of the World.

ISCM look forward to making available internet wide all this exciting music and to nurturing a new audience for it.

CANZ is allowed to submit 3-6 works to ISCM, so we’ll create a panel to assess and select if more are submitted. This is a fantastic opportunity to have your work viewed by an audience beyond Aotearoa. We look forward to receiving your entries!

Call for Online Recordings (Audio or Video)

Submit links and necessary information to by midday on Tuesday 20 April.

Conditions of eligibility:

– Links to professional quality audio or video recordings, legally cleared for streaming on an online platform

– Works must be composed by a member of CANZ

– All rights must be cleared at the time of submission

– Composers, performers and other possible owners of rights must be properly credited

Necessary information:

– Name of the work, year of composition, ensemble/line-up

– Name and contact information of the composer

– Names of other possible owners of rights of the work and of the performance/recording

– Place and date of performance/recording

– Declaration of what rights have been cleared, how, and by whom

– Name and contact information of the owner of the account, page, or other online platform in which the linked material is situated, if other than the composer

Photographs in big format , CVs, biographies, commentaries, media quotes and any other texts facilitating the showcasing of the composer or the work are welcome.

Call for Conference Proposals extended to 12 February

The deadline for the Conference (“Music Ecosystems”) attached to the ISCM 2020 World New Music Days has been extended to 12 February. CANZ members in particular are warmly invited to submit proposals. Visit the website for further information and the submission process.

Music Ecosystems Conference: Auckland, New Zealand

24–25 April 2020

Open Call for Proposals

As part of the ISCM 2020 World New Music Days we invite proposals for papers/presentations that reflect on our changing music ecosystems, and may coincide with one or more of the following themes:

  • musical villages
  • music and the environment
  • the musical globe
  • sustainability
  • dislocated musics
  • internationalism and music
  • musical (r)evolutions

Papers on topics outside these areas, but falling within the scope of the general theme, are also invited.

Proposals should be submitted via the festival website by Friday 7 February 2020.

All abstracts will be peer reviewed by two members of an assessment panel convened by ISCM President, Assoc Prof Glenda Keam. Submitters will be advised whether their proposal has been accepted by Friday 28 February. Note that both formal and informal presentation styles are welcome. Presentations will be limited to 20 minutes, with a further 10 minutes discussion.

Please note: Select conference papers/presentations will be invited for publication in the new online platform Naxos Musicology International (accessible via the Naxos Music Library). Contributions may of course be edited and revised by authors for the purposes of publication.

If you have any questions, please get in touch on

Ngā mihi nui,

Claudia Ruff
Festival Co-ordinator
ISCM 2020 World New Music Days & ACL Festival

Art as Sound as Art Exploratory Music School

Art as Sound as Art exploratory music school in conjunction with Artist Open Studios for composers and performers.

March 23 – 25 2018, Opera House, Whanganui

Extreme flute and voice, Taonga Puoro, electronics, with tutors Elise Goodge, Ingrid Culliford, Judith Dodsworth, Susan Frykberg

Performances, open rehearsals, audience participation, improvisation, graphic scores, new works in artists studios.

Register by 20th Feb 2018

For more info email

Call for scores: SOUNZ and Westlake Community Project 2018

A collaboration between Westlake Symphony Orchestra and SOUNZ Centre for New Zealand Music.

The Westlake Symphony Orchestra is an accomplished school orchestra conducted by David Squire. The aim of this project is to encourage New Zealand composers at all career stages to have high quality works available for non-professional orchestras. By making these works available through SOUNZ Online orchestras will be able to watch and listen to repertoire they can programme and perform. The selected works will be recorded and filmed later in 2018 by SOUNZ, and one work may be performed by the Westlake Symphony Orchestra at the KBB Music Festival in August 2018.

Call for scores
SOUNZ is calling for scores from New Zealand composers suitable for a secondary school orchestra. The duration of the work should be 2-8 minutes. There is also the option of submitting a concerto work featuring a piano, viola or violin soloist.

The deadline for submission is 9am Monday 29 January 2018, and the parts for the selected works will be due at 9am Monday 5 March.

For more information and application guidelines visit SOUNZ:

ISCM Call for Works: Beijing 2018

Dear Members of CANZ,

The official Call for Works is now released for ISCM’s World Music Days 2018, to be held in Beijing, China, from May 19 – 26, 2018 in association with the 2018 Beijing Modern Music Festival.

This very exciting 8-day festival and international gathering promises the chance to hear music from over 50 countries played by world-class performers, and unprecedented networking opportunities amongst the global community of composers and performers of new music.

CANZ is the official NZ member (Section) of the ISCM, and will be selecting and submitting six works as our Official Submission. We now invite members to submit works to CANZ for consideration. The deadline for submission to CANZ is Friday 8 December 2018. Please send all materials electronically to <>.. Receipt of your submission will be acknowledged. If for some reason you do not receive such acknowledgement, please send an inquiry to <>.

You must be a current member of CANZ to make a submission to our official NZ entry (if you wish to join CANZ, please see ) Preference will be given to shorter works, and works composed after 2012. The Official Submission from CANZ will include six works fitting at least four of the 11 submission categories. It is essential that you ensure your entry matches the specifications for one of the categories, described below:

1. Symphony orchestra (without choir; with or without soloist such as piano, violin, viola, cello, flute, oboe, clarinet, trumpet, percussion, tenor and soprano, etc.) (2+1.2+1.2+1.2+1.- timp.perc4-pno-harp-strings). Duration max. 20 min.

2. Traditional Chinese Music Orchestra (without choir; with or without soloists such as erhu, pipa, zheng, ruan, bamboo flute, suona, sheng, percussion, etc.)
(2 bangdi+2 qudi+ 2 xindi+ 2 soprano sheng+ 2 alto sheng+ bass sheng+ 2 soprano suona+ 2 alto suona+ 2 tenor suona+ 2 bass suona+ 2 liuqin+ 2 yangqin+ 4-6 pipa+ 6 zhongruan+ 2-4 daruan+ 2 zheng+ 8-10 percussion+ 4-10 gaohu+ 12-16 erhu+ 4- 8 zhonghu+ 4-8 cellos+ 3-6 double basses). Duration max. 20 min.

3. Sinfonietta: flute, oboe, 2 clarinets, bassoon – trumpet, horn, trombone – 2 violins, viola, cello, double bass – 2 perc – pno). Duration max. 10 min.

4. Youth mixed choir (70 members; four voices for mix choir: soprano, alto, tenor and bass). Duration max. 8 min.

5. String Quartet. Duration max. 15 min.

6. Piano Trio for piano, violin and cello; or Piano Trio for piano, clarinet, and violin or viola. Duration max. 15 min.

7. Chamber Music pieces for quintet: flute (also alto flute and bass-flute), clarinet (also bass-clarinet), piano, violin and cello. Duration max. 15 min.

8. Chamber Music pieces for septet or octet: instruments to be chosen from violin, viola, cello, bass, piano, flute, oboe, clarinet, bassoon, horn, trumpet, trombone, and percussion, no more than one of each. Duration max 10 min.

9. Pieces for violin, flute, tenor, or soprano, with or without piano. Pieces for piano solo are also accepted. Duration max 8 min.

10. Chamber Opera. No more than 2 actors, and no more than 20 regular instruments from symphony orchestra. Concert version. Duration max 45 min.

11. Computer Music, for fixed media or with live performance (for voice or no more than 4 instruments to be chosen from 1 flute, 1 oboe, 1 clarinet, 1 bassoon, 1 horn, 1 trumpet, 1 trombone, 2 violins, 1 viola, 1 violoncello, 1 double-bass), up to 8 channels. Duration max 15 min.
Please note, the listed instruments are standard instruments, but the use of non-standard instruments is possible (additional expenses covered by the submitter). More updated information on the categories will be supplied on the festival website later

In order to submit works in the official NZ entry, CANZ requires the following:

– The score (PDF document preferred), or audio/video documentation if the work does not have a written score.

– An audio or video recording of the work (if possible)

– Short biography of the composer in English (maximum 150 words).
Programme notes for the submitted work in English (maximum 150 words).

– Technical rider specifying all equipment necessary to perform the work.

– Proof of nationality of the composer (copy of passport)

– High-resolution digital photograph of the composer.

– The composer’s personal and contact information: Given names; Family name; Name as it should appear in the programme; Date of birth; full Mailing address; Gender; Phone no.; email address; website (if applicable); signature.

– Composition Information: Title; Submission Category; Accurate duration; Year of composition.

Individual Submissions are also welcomed by ISCM, and must be submitted by regular post, containing all of the components requested above, to the following address:
Beijing Modern Music Festival
Room 630, Office Building, Central Conservartory of Music,
43 Baojia Street, Xicheng District, Beijing 100031, China +8610 6641 4052

Mention “Entry for the ISCM World Music Days 2018” on your entry. The postmark deadline is December 31, 2017 (Beijing time). Please note: this deadline applies only to individual submissions. 8 December 2017 is the deadline for the official CANZ submissions.

An entry fee of €50 applies to Individual Submissions, payable at the time of submission via PayPal on the ISCM website: , or by bank transfer to the account of the ISCM (mention “individual submission ISCM 2018”, and your name) to:

ISCM-International Society for Contemporary Music,
ABN-AMRO Bank, Amsterdam, The Netherlands, IBAN: NL36ABNA0552532088, BIC: ABNANL2A.

For further information about the Call for Works, there will soon be an ISCM 2018 Beijing-based website.

Nief-Norf Summer Festival 2018 Call for Scores

Each year the NNSF Call for Scores invites submissions of contemporary scores for chamber ensemble that are performed by Performance Fellows at the annual Nief-Norf Summer Festival. Composers of selected compositions will be invited to attend the festival and coach festival students and faculty in the preparation of the work.The 2018 NNSF Call for Scores invites submissions of contemporary scores related to the research conference theme of New Asia. The call is open to all composers without restriction, and the connection to the theme may pertain to the music, the instrumentation, the subject matter, or the identity of the composer, and is open to creative interpretation.

Submissions are invited of works for chamber ensemble (3-12 players) for any of the following instruments:
flute (all family), clarinet (all family), oboe, bassoon, saxophone (all family), trumpet, horn, trombone, tuba, piano, harp, percussion, guitar (acoustic or electric), violin, viola, cello, double bass, voice

Composer-performers using instruments not on this list, especially non-Western instruments, may also submit works that include themselves as a performer.

Any of the following score are welcome: scores requiring two or more of the same instrument (such as percussion ensemble or string quartet); works including improvisation, electronics, indeterminate notation or instrumentation; works that have been performed, recorded or published. All interested composers, at any point in their career are eligible to apply.

Submission fee: $15 for the first composition, $10 for each additional work (up to five).
Submission deadline: January 15, 2018

For more info see