Creative New Zealand/Jack C. Richards Composer-in-Residence at NZSM 2016-2017

Te Kōkī New Zealand School of Music (NZSM) at Victoria University of Wellington invites applications for the Creative New Zealand/Jack C. Richards Composer-in-Residence at NZSM for the period July 2016–June 2017. The appointment is jointly funded by Creative New Zealand and private donor Dr Jack C. Richards, with the NZSM as host organisation. This position fosters and expands the New Zealand musical landscape by providing an established composer with the opportunity to write full-time for the period of tenure.

Benefits, Opportunities & Sector Partnerships

The residency provides numerous benefits and opportunities for the promotion, presentation and professional development of the successful candidate in the following ways:

  • Orchestra Wellington will offer the nominal position of Composer-in-Residence to the successful candidate, if an orchestral work is included in their Work Proposal document. The orchestra will guarantee performance of one new work written by the composer.
  • The Lilburn Residence Trust normally offers the use of the former home of Douglas Lilburn in Thorndon to the Composer-in-Residence for a modest rental. The house is located in an enclave of artist residences, including the Rita Angus Cottage and the Randell Cottage, and is within walking distance of the NZSM.
  • Te Kōkī New Zealand School of Music (NZSM) at Victoria University of Wellington offers to facilitate access to Wellington-based performers and ensembles (e.g. NZSQ, Stroma, Strike, Orchestra Wellington, Baroque Voices) who have agreed to consider programming new works written by the composer.

Please click the following links for further details of the position.

VUW Composer in Resdience 2016 – Role Description

VUW Composer in Residence 2016- Application Details

 

2015 ISCM World Music Days in Ljubljana, Slovenia

The 2015 International Society of Contemporary Music (ISCM) World Music Days festival, an annual fixture in the contemporary music calendar, was held in Ljublijana, Slovenia, and New Zealand was once again well represented thanks to the Composers Association of New Zealand (CANZ), which holds New Zealand’s membership to the ISCM.

Each year, provided that certain criteria are met, CANZ is guaranteed a performance in the World Music Days festival of at least one work submitted in the annual call for scores. New Zealand’s represented composer for 2015 was Chris Cree Brown. The standard of performances, given by Slovenia’s top ensembles and comprised almost exclusively of Slovenian performers, was extremely high. Chris Cree Brown’s piece Sound Barrel, for euphonium and electronics received an outstanding performance by Luka Einfalt and contributed to a particularly strong field of works with electroacoustic components.

Together with the festival itself, ISCM World Music Days is also the setting for the ISCM General Assembly meetings. CANZ President Glenda Keam is currently serving a two-year term on the ISCM executive committee and CANZ Committee member Mary Binney attended as New Zealand’s delegate in the General Assembly, representing and voting on behalf of New Zealand in these meetings.

For several year now, CANZ has been discussing the possibility of hosting the 2020 World Music Days festival in New Zealand. Mary gave a presentation on behalf of CANZ by way of an update to the General Assembly and this was warmly received.

The CANZ Committee gratefully acknowledges the generous support of Creative New Zealand in enabling Mary and Chris to attend this year’s World Music Days, and looks forward to the 2016 festival in Tongyeong, South Korea, at which event Neville Hall will be New Zealand’s represented composer.

Risuonanze 2016 Call for Scores

Associazione Culturale TKE is calling for pieces to be performed at the “Risuonanze 2016 – incontri di nuove musiche” Festival, which will take place early June, 2016, in Friuli Venezia Giulia region – Italy.

  • The Call is open to composers of any nationality and age.
  • The submitted works should not have been premiered in any public performance in Italy; if selected, these works will be presented as “world premieres” or “Italian premieres”.
  • All music performed in the Festival will be radio-broadcast and professionally recorded; composers will be given a copy of the recording of their works.
  • 15 Euros (non-refundable) must be payed via bank transfer or PayPal as a donation for contribution to costs; this amount allows to submit 1 to 5 different works.
  • Festival “Risuonanze 2016” is based on the direct relationship between composers and audience, so composers attending the performances are much appreciated. In that case, there is no refund for travel and lodging fees.
  • Associazione Culturale TKE may select one or more pieces in each category; it may also decide not to choose any composition.

Submission deadline: February 22nd, 2016

  • Works written for:
    a) UNACCOMPANIED: solo piano, or solo violin, or solo flute [C and/or Piccolo and/or G Alto flute], or solo trombone, or solo voice [mezzo-soprano, range: F3 to F5 (piano dynamics) or Ab5 (forte dynamics)]
    b) DUOS: voice [mezzo-soprano, range as before] and piano, or two flutes [both doubling piccolo, one of them also doubling G Alto flute], or two violins, or flute [C] and piano
  • Regarding vocal works, the text should be in the public domain, otherwise the composer should be authorized for its utilization
  • Works from 1 to 6 minutes in duration
  • All submitted works must be “world premieres” or “Italian premieres” in the Festival
  • Submissions via email only
  • Each submission consists in:
    a) one to five scores
    b) payment proof 15 Euros (bank transfer: IBAN IT58P0634067684510701023136, BIC/SWIFT IBSPIT2U, beneficiary: Associazione culturale TKE, or Pay Pal: please see the Risuonanze website – as description of payment please write “Call for Scores Risuonanze 2016”)
    c) a short biography (200 words max.)
  • The scores must be attached as PDF files
  • The biography (in Italian or English) must be pasted as text in the body of the email, together with first name, last name, date of birth and nationality
  • The payment proof (bank transfer or PayPal) must be attached as PDF file
  • In the body of the email, please specify whether the pieces, if selected, should be presented as “world premiere” or “Italian premiere”
  • Send the submission via email to callrisuonanze2016@gmail.com

 

The results will be announced not later than April 25th, 2016 on the Risuonanze website, and composers of the accepted works will be notified by email.

 

For any further information, please visit: http://www.risuonanze.it/calls/call.html or email: tkecallforscores@gmail.com

 

5th Solo Harp Composition Contest – 2015

The Composition Contest for the USA International Harp Competition takes place prior to the triennial performance competition. It was established in 2003 to promote the harp as a solo instrument and to encourage composers to write new works for the harp. To date over 250 composers from 40 countries have been Composition Contest participants.

PRIZES
Cash Award: $2,000 USD
Performance: The winning composition will be included in the 2016 USA International Harp
Competition’s required third stage repertoire. It will also be performed by the Gold Medalist at 10th Competition-related debut recitals.
Recording: The winning composition may be included in the CD recording produced by Lyon & Healy Harps for the 10th Competition winner.
Publication: The winning composition will be published by Lyon & Healy Harps.

RULES
Duration: 6-8 minutes.
Instrumentation: Solo harp (Other instruments may be included if played by the harpist. Electronics are permitted if no additional personnel are required. Please contact the Composition Contest Chair in advance of submission to be certain that the planned approach will be accepted.)
Eligibility: The work must be unpublished, unawarded and not have been recorded for commercial distribution. Previous Composition Contest winners are not eligible.
Submissions: Online application form, PDF of anonymous score, MP3 recording played by a harpist.

DEADLINES
October 30, 2015: Online application form, brief bio, PDF of anonymous score.
November 30, 2015: MP3 recording of submitted work played by a harpist. No digital or midi recordings will be accepted. Please find your harpist early to permit enough preparation time.
January 30, 2016: Winning composition announced.

QUESTIONS
Dr. Ruth K. Inglefield, Composition Contest Chair: rkinglefield@gmail.com

CALL FOR SCORES | MISE-EN MUSIC FESTIVAL 2016

ensemble mise-en (www.mise-en.org) is very excited to announce a call for scores for mise-en music festival 2016!

Deadline: September 1, 2015 (EST 11:59PM)

Submission Fee: $15 (USD)

The guidelines for the submissions:
1. Applicants may be of any nationality and age.
2. Selected composers must be present at the festival (June 22-25, 2016) in New York City.
3. You may only send one piece per category. Please notice that multiple submissions are welcome, but each must be submitted as a separate entity.
4. Those composers chosen to write new works (CATEGORY #4) will be notified by October 1, 2015. All other composers chosen to participate in the festival will be notified by December 1, 2015.

CATEGORIES (Click one to apply)
1. Mixed Ensemble (2-15 instruments with/without electronics/tape)
2. Solo instrument (with/without electronics/tape)
3. Tape/electronics
4. Proposal for a new piece (flute, clarinet, trombone, piano, violin and contrabass with/without electronics)

IMPORTANT — we will not accept any hard copies or email submissions. All submissions should be made via the following website. (festival.mise-en.org/submission)

Sofia Philharmonic Orchestra – 15th International Composer’s Competition

CALL FOR SCORES

Theme: A symphonic poem based on intonations and rhythms from Bulgarian folklore

Deadline for scores and sound recordings: August 15th 2015

Those willing to compete can find detailed information and the rules of the competition on the web site of the Sofia Philharmonic Orchestra  www.sofiaphilharmonie.bg

PRIZE FUND
First prize $ 5,000
Second prize $ 3,000
Third prize $ 1,000
Encouraging prize $ 500

CONDITIONS

1. Composers of any nationality without age limit have the right to participate in the competition. The competition is not anonymous.

2. The music pieces must be new and original and must not have been performed, even partially, prior to the competition.

3. There are no restrictions for composers nominated in previous competitions.

4. Each participant may submit only one piece with a total duration of not more than 15 minutes .

5. The works must have strong tonal and rhythmic techniques / syncopated rhythms / characteristic of the Bulgarian folklore.

6. If there is a solo instrument in the composition, the composer is expected to provide the soloist and to pay him/her.

7. Works must comply with a composition of the orchestra no greater than:

2*,2*,2*,2*,- 4,2,3,1-timp.+2, Harp, Pianoforte, Str.

TECHNICAL REQUIREMENTS & DEADLINES

1. Each participant can express his/her willingness to participate in the competition on the e-mail address: sofiaphil@ibn.bg; philharmony.sofia@gmail.com, by sending a brief artistic biography, a photo for publication, an address and a telephone number.

2. The composers participating in the competition must send by August 15th 2015 5 copies of the score and sound recording/instrumental, synthesizer or keyboard/ of his/her work to the following address:

Sofia Philharmonic Orchestra
for the competition in 7/8
1 Benkovski st., 1000 Sofia

3. Musical scores of the nominated works /full set voices duplex printed and glued/ must be submitted to the same address within 20 days after the announcing of the results. The composers who have not submitted their music material in time are eliminated automatically from the final round.

JURY

1. Five-member professional jury will nominate the finalists.
The jury’s decision is final and not subject to appeal.
Jury members are not allowed to participate in the competition.

2. Up to four nominated works will be performed at an organized concert-competition of Sofia Philharmonic Orchestra.

3. The election of the winner and runners-up should be done by audience vote at the end of the concert with special bulletins attached to the purchased ticket or to a special invitation.

4. Composers must give the rights for the performance of their composition at this concert, as well as subsequent concert performances and issuing CDs to promote the competition free of charge.

5. Prizes will be awarded on the same evening as the concert.

The symbol * means that an orchestration is permited in which one of the instrumentalists in the group can play more than one instrument in a different order, such as flute – piccolo and /or/ alto flute, oboe – English horn, clarinet- bass clarinet and /or/Eb clarinet, Fagot-Contrafagot .

Note: percussion instruments and keyboards can not be more than two and the piece must be so composed that at any moment a percussionist is playing an instrument and enough time is provided for changing and preparing of the instruments.

In the event that the work can not be performed due to a breach of that condition, due to a written “not playable” elements thereof, or due to failure to comply with the specifics of each instrument, the nominated work is eliminated from the competition.

Singapore Asian Composers Festival 2015 – Call for Scores

The Singapore Asian Composers Festival (SACF) calls for submissions for a three-night event at the Esplanade Recital Studio, Singapore (8th-10th Dec 2015). This competition is open to citizens of the Asia-Pacific region (Asia and Oceania). They do not need to be currently residing in the region. Selected composers are required to attend the festival. The festival will include pre-concert talks and other networking opportunities to bring together composers, musicians and the public.

Composers can write for solo or chamber music up to 10 instruments for a maximum duration of 10 minutes. The available instrumentation are 1 Flute, 1 Oboe, 1 Clarinet, 1 Bassoon, 1 French Horn, 1 Piano, 2 Violins, 1 Viola, and 1 Cello. No electronic music would be accepted. Prepared piano is not allowed. Playing inside the piano is restricted to simple techniques such as plucking of strings. Composers can choose to write in either one of the following styles: classical, neo-classical, new age, film music and avant garde.

Works must be world premiere or Singapore premiere and cannot be accessed online. Works cannot be commercially recorded and/or released, and cannot be prize winners at other competitions. About 24 works will be chosen to be performed at the festival. Each submission must be complete by itself and not be part of a larger work. Only one work based on one of four themes can be submitted per composer. For information on themes, please refer to website link below.

All submissions will be judged anonymously. The deadline for submission is 31st July 2015.

Website
Competition details
Themes

2015 International Music Composition Competition – Sejong Prize

1. Mission: Traditional Korean music contains many unique elements. The Sejong Music Composition Competition encourages composers to explore these elements and incorporate them into their compositions to create contemporary pieces for Western instruments that evoke Korean themes. Using these pieces in performances, we hope to bring the world of Korean music not only to composers, but performers and listeners, as well. For Sejong Prize Competition, we are looking for high quality Korean-themed pieces that can be performed frequently. Our goal is to encourage composers to write music that is appealing to general public and has clear expression of Korean themes.

2. Competition Rules:
– Eligibility: Open to composers of all ages, all nationalities, and all ethnic backgrounds.
– Judges’ decisions are final.
– Prizes may not be awarded at the judges’ discretion.
– Please keep in mind that we are looking for pieces that can strongly convey Korean themes.

3. Submission Requirements:
– Submit a work for 2-5 instruments chosen from violin, cello, piano, flute, and clarinet that can strongly convey Korean themes and is no more than twelve minutes in length. The piece must contain elements of traditional Korean melodies or rhythm.
– Representative samples of Korean traditional music transcriptions and recordings of traditional Korean instruments can be found on our website as examples.
– The application should include a short paragraph (up to 500 words) that explains how the Korean theme was expressed in the composition.
– The contestant’s entry and application form must be sent as email attachments to sejong@sejongculturalsociety.org.
– The music score must be submitted in a PDF file. Printed scores or other file types will not be accepted.
– Anonymous submission of score: the entrant’s name and contact details must not appear on any page of the score. Having a name on the score will result in disqualification. File names should include the contestant’s name (eg. JohnSmith.pdf)
– First prize winners of the previous competition (2005 Korean-American Music Composition Competition, 2008 International Sejong Music Composition Competition, 2012 Sejong Prize Competition) may not enter this competition.

4. Submission deadline: Jun 30th, 2015 (*No application fee)

5. Winners and prizes: First place $2,000; Honorable Mentions (2-3) $500
In addition, the winning entries will be performed for recording, may be submitted for publication of music scores or performance of the music to be broadcasted by television and radio stations.

6. Judging Criteria: Works will be judged based on originality, technique, and use of Korean themes

7. For more information:
Visit our website at www.sejongculturalsociety.org or email us at sejong@sejongculturalsociety.org.

CALL FOR PAPERS The Enterprise of Musicology: Trends in our New Age

The East Asian Regional Association of the International Musicological Society (IMS-EA) have announced a call for papers for ‘The Enterprise of Musicology: Trends in our New Age’ to be held in Hong Kong, 4-6 December 2015.

Deadline: 10 April 2015

Musical and musicological trends are ever changing with evolving sociological, economic, and political climates; at the same time, trends can also be geographic-specific. IMS East Asia 2015 sets out to examine current trends of musicological thoughts, and in particular, ‘Asian trends’ – if such a phenomenon could be discerned. Asian countries are some of the fastest growing in the world: in technology, in science, in cultural development, and in educational innovation. Are such elements influential factors in musicological trends in Asia and world-wide?

Read more at http://www.imsea2015.org/