Call for proposals for Dark Music Days 2018

May 14, 2017 in All Opportunities, Composers, Performers by mwhiteside

Call for proposals for Dark Music Days 2018
The board of Dark Music Days calls for proposals for the 2018 edition of Dark Music Days which will be held in Harpa, Reykjavik. The festival takes place between the 25th and 27th of January 2018. Applicants can be performers, composers or collaborations of both.
The applications can be:
• idea for a work/installation/music theater etc.
• concert program to be performed at the festival

Applications have to include
• Names of Performers/Composers
• Photo material
• Bio
• budget (as detailed as possible)
Emphasis is on works which has been composed in the past 25 years.
Applications shall be sent by email before the 31st of May 2017 to:

Applicants which have already sent a proposal are not obliged to send them again.

On behalf of Dark Music Days
Gunnar Karel Másson
Artistic Director of Dark Music Days

Call For Scores–Sonic Liberation Players

April 27, 2017 in All Opportunities, Composers by mwhiteside

Sonic Liberation Players is an expanded Pierrot group in the Boston area that is entering into their second full performance season this coming fall and is looking for new works to consider programming for their upcoming season (and possibly into the future). Recent composers that we have programmed include Cage, Feldman, Saariaho, Julius Eastman, Alvin Lucier, and Pauline Oliveros.

Fl, Cl, Ob, Vln, Vla, Vc, Pf, Perc, Sop (voice). We also have the possibility of a string quartet, as our flutist also plays the violin. You may submit scores for the entire ensemble, or any subset thereof.

We are looking for new works as well as works that have been previously performed.

Please submit scores (.pdf) to

Thank you for your time,

CEMIcircles Electronic/electro-acoustic Festival Call for works

April 27, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

The Center for Experimental Music and Intermedia (CEMI) at the University of North Texas invites electronic music composers of all nationalities and ages to submit works for the CEMIcircles Concert Series.

CEMI is an interdisciplinary center focused on music and arts technologies, hosted within UNT’s Division of Composition Studies. CEMI fosters the integration of electroacoustic music, live performance, video/film, plastic arts, and theater. Since its 1963 inception, CEMI has evolved into a unique creative environment, world-renowned for innovative works and musicians.

The CEMIcircles Concert Series will showcase recent computer music works in one or more events in the Merrill Ellis Intermedia Theatre, in the Fall 2017 and Spring 2018 (date: TBD).

Preference will be given to pieces under 12 minutes of duration. These should consist of either fixed audio/video or live electronics with or without acoustic/electronic instruments. In the latter case, composers must either perform their own work or provide their own performer(s).

Submitted works will be curated and selected by the CEMI personnel, with the assistance of CEMI Director, Panayiotis Kokoras. The concert will take place in the Merrill Ellis Intermedia Theatre, featuring a 28.3-channel audio system, three-screen immersive HD video projection, and full stage customizable lighting including “smart light” units. More information here:

– One submission per composer
– Submission Fee: none
– Deadline: Friday, May 5

Online Submission Form:

More info:

International Young Composers Academy in Tchaikovsky city 2017

April 27, 2017 in All Opportunities, Composers, Performers, residencey and summerschool by mwhiteside

August 28 – September 12, 2017

Tchaikovsky city, Perm, Moscow

Yannis Kyriakides (the Netherlands), Jérôme Combier (France), Dmitri Kourliandski (Russia), Elzbieta Sikora (Poland)

Special Guest:

Davo van Peursen (the Netherlands), director of Publishing House “Donemus”

Performers/MCME soloists:
Ivan Bushuev, flute (+ piccolo, alto-fl)
Oleg Tantsov, clarinet (+ bass-clarinet)
Mikhail Dubov, piano
Vladislav Pessin, violin
Ilya Rubinstein, cello

According to applications professional jury will select 10 students and 5 stagers of any nationality up to 35 years old. Students will have a possibility to work during 12 days on a new composition under the patronage of well-known composers. The compositions will be premiered by Moscow Contemporary Music Ensemble in the frames of the Academy in the Tchaikovsky city and in Moscow. Stagers receive individual classes of Academy professors and attend all events of the Academy.

Each student will have 6 hours of individual lessons (2 hour-long lessons with each professor), 1 hour-long individual meeting with each musician (participating in the piece performance) and 3 hour-long rehearsals with the musicians of the Moscow Ensemble (under the professors’ patronage). Each stager will have 3 hours of individual lessons (1 hour-long lessons with each professor).

Besides individual lessons, each professor will hold 2 open three-hour-long lectures, and each student and stager will have a hour-long presentation.

I. Selection procedure:
Dead-line: Applications sent before May 15, 2017.
Date of birth – 1982 or later.
Jury selects 15 participants of the Academy: 10 students and 5 stagers.
Selected composers will receive confirmations by e-mail before June 15, 2017.
Before August 10, 2017 the 10 selected composers should send the draft of the score.
In case composer rejects participation another composer is invited instead.

II. Applications are to be sent by e-mail and must include:
1. First name, Surname
2. Home address
3. Country
4. Phone
5. e-mail, web-site
6. Date of Birth
7. Citizenship/Nationality
8. Composers short biography (150 words)
9. Two – three scores of any line-up in pdf
10. Links to the downloadable (!) recording of 1-3 pieces in mp3 (you can use, dropbox or something else)
11. Copy of passport (main page) – valid till the end of February 2018
12. Current photograph of the composer

Send applications to:

III. Selected students are proposed to compose a 6-8 minutes piece (or a complete part of a bigger work) for one of the following instrumental combinations:

1. Flute / flute alto / piccolo
2. Clarinet / bass clarinet
3. Piano
4. Violin
5. Cello
6. Flute, clarinet, piano, violin, cello
7. Flute, clarinet, piano, cello
8. Flute, piano, violin
9. Piano, violin, cello
10. Clarinet, violin, cello

Students can propose their own combinations as well. Organisers will try to distribute the instrumental line-ups in accordance with the participants’ will

IV. Financial conditions:
Selected composers pay only travel to Moscow. Travel from Moscow to Tchaikovsky and back, food, accommodation and studies are covered by the Academy.

V. Accommodation and study:
All participants will be accommodated in a hotel in double rooms with sink. Breakfast, lunch, dinner. Internet access.
All events will take place in the Tchaikovsky Mmusical College and Chidren Art School

VI. Additional possibilities:
Wishing to come at their own expenses are welcome. The “free listeners” can follow all public events of the Academy: lectures, presentations, rehearsals, concerts, but they have no possibility for individual classes. The number of free listeners is limited. Contact the Academy direction for the details and prices.

We recommend you to contact us as soon as possible for the details of arrival, transfer and visa support.

VII. Honorable mentions are previewed by the end of the Academy:
Invitation to the next Academy, performances during 2017-2018 concert season in Russia and abroad, etc. Possibility to be published at the “Donemus”

VIII. Contacts:
Victoria Korshunova, director of MCME:
Dmitri Kourliandski, artistic director of Academy:

Alexander Khubeev, coordinator of Academy:

Send applications to:

IX. The final concerts

The final concerts of new student works will take place in Tchaikovsky Art School in September 10th and in Moscow Philharmonics Chamber Hall in September 12th. Students can stay in Moscow at their own. The Academy Administration can’t cover accommodation in Moscow but can help to find the cheap hotels/hostels.

Women Composers Festival of Hartford – Featured Performer(s) and Composer

April 27, 2017 in All Opportunities, Composers, Performers by mwhiteside

The Women Composers Festival of Hartford is now accepting submissions from potential Featured Performers for 2018 and future years. The Featured Performer(s) will present a concert of work by women composers including a new commission by the Composer-in-Residence and works chosen from a competitive score call, participate in a reading session for student composers, and more.

Please visit to access the online submission form. Applications will be accepted year-round but only those received by 5/15/17 will be considered for 2018.

Opportunity: Apply to be Embedded with BCMG

March 31, 2017 in All Opportunities, Composers by mwhiteside

We are partnering with world-leading contemporary ensemble Birmingham Contemporary Music Group to provide an apprentice composer-in-residence opportunity for one lucky artist.

The selected artists will be able to immerse themselves in the group’s activities from September 2017 to summer/autumn 2018, observing and participating in all aspects and developing an insight into a broad range of their work.

The residency will include writing a new work for the ensemble to premiere in 2018 as well as a shorter piece for young performers as part of the group’s Learning and Participation programme.

It is a truly unique residency with professional development at its core. The selected composer will have time to get to know the ensemble and all BCMG activities through visits, shadowing of composers, observing rehearsals and performances, as well as attending workshops and receiving bespoke coaching and mentoring through Sound and Music’s New Voices scheme.

Find out more here>>

The Applause Music Concert Series is seeking works for Violin and Piano

March 31, 2017 in All Opportunities, Composers by mwhiteside

The Applause Music Concert Series is seeking works for Violin and Piano, published or unpublished, for its upcoming season. Compositions should be no less than 5 minutes and no longer than 15 minutes in length. The selected pieces (generally 3 – 5) will be performed at Texas Historical Marker New Hope Baptist Church in Mansfield, TX on July 29th, 2017 by the guest artists the Ascending Duo (Caitlyn Foster, Piano and Tricia Frasure, violin).
To participate, send an email titled “Applause 2017 Submission” to Include in the email:
1. Your Name
2. Title of the Work and its Length
3. 1 attached score
4. A mp3 or midi realization or link to soundcloud/youtube
Those selected are highly encouraged to join us for the concert, but attendance is not required to be selected.
Scores must be submitted by April 10th, 2017 by 11:59 PM. There is no entry fee for this call for scores.


March 31, 2017 in All Opportunities, Composers by mwhiteside


writing for orchestra

The seventh edition of the Young Composers’ Forum – September 2017

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


Composers 35 years and younger of all nationalities are invited to apply for one or both sessions submitting works as indicated in the application requirements found below.

Applications must be submitted exclusively online via the Ulysses platform: You will be asked to submit scores and audio files. Handwritten scores will not be accepted.

The application deadline is June 1st, 2017.

The first session, held in Brussels, Belgium from September 25th to 27th and with the collaboration of the Brussels Philharmonic, will feature writing for orchestra. Candidates are asked to submit a piece or part of a piece (movement) for symphony orchestra approximately 10 minutes in duration.

Orchestral accompaniment cannot exceed the following instrumentation:

Woodwinds in groups of 3: 3 flutes [including piccolo] – 3 oboes [including English horn] – 3 clarinets [including bass clarinet or soprano clarinet] – 3 bassoons [including contrabassoon]

Brass: 4 horns – 3 trumpets – 3 trombones – 1 tuba

Percussion: 3 players [1 timpanist and 2 percussionists]

Harp: 1 player

Strings: 14 – 12 – 9 – 8 – 6


The second session, held in Mons, Belgium from September 27th to 29th, 2017 and with the collaboration of the ensemble Musiques Nouvelles, will feature writing for chamber ensemble. Candidates are asked to submit a piece for chamber ensemble approximately 10 minutes in duration. Applicants are encouraged to submit a work with particular emphasis on either the piano and / or marimba part/s.

Instrumentation for the chamber ensemble work should not exceed the following (9 musicians):

1 flute (including piccolo, alto flute and bass flute) – 1 clarinet (including bass clarinet and contrabass clarinet) – 1 trombone – 1 guitar (including electric guitar) – percussion* – 1 piano – 1 violin – 1 viola – 1 cello.

* Accepted percussion instruments:

• 1 * timpani 20 inches

• 1 * timpani 26 inches

• 1 * timpani 29 inches

• 1 * timpani 32 inches

• 1 * concert bass drum

• 1 * tubulars bells

• 1 * concert tam tam

• 1 * gong tuned . C .

• 1 * gong tuned . B .

• 1 * marimba

• 1 * vibraphone

• 3 * conga

• 3 * bongo paired 7 inches . and 8 inches 5/8

• 1 * complete drum set with 2 snares

• 1 * glockenspiel

• 1 * octave of crotales C6 – C7

• 1 * xylophone

• 2 * bar chimes

• 5 * cow bell

• a set of suspended cymbals

Royal Scottish National Orchestra is inviting young composers, aged 12 – 18, to write a two – five minute piece of music for an instrumental trio, quartet or quintet

March 31, 2017 in All Opportunities, Composers by mwhiteside

In partnership with the National Trust for Scotland, the Royal Scottish National Orchestra is inviting young composers, aged 12 – 18, to write a two – five minute piece of music for an instrumental trio, quartet or quintet of their choice inspired by one of five examples of the country’s most incredible landmarks.

Culzean Castle, Ayrshire

Glencoe, The Highlands

Hill House, Argyll & Bute

Newhailes, Edinburgh

House of Dun, Angus

Schools workshops will be held at each of the sites. They will be delivered in two parts (1) working with professional Scottish composer Jennifer Martin to find out more about writing music to a theme and (2) a tour of the property by NTS staff to discover the stories each site holds, which will provide the inspiration for the young composers.

Places on each of the workshops are free to those not enrolled in invited schools but must be booked in advance.

This can be done via email: or call 0141 225 3557.

The overall winner will be announced on Saturday 17 June 2017 at the RSNO New Home Auditorium in Glasgow Royal Concert Hall during a live final, where all five semifinalists will have their pieces performed and recorded.

LAUDEM composition competition

March 29, 2017 in All Opportunities, choral, Composers by mwhiteside

LAUDEM, the Association of Liturgical Musicians of Canada, organizes a composition competition on the occasion of the 375th anniversary of Montréal

Every person, regardless of nationality or age, who is not member of the Administrative Council of LAUDEM, is eligible to apply.

Important dates:
Friday, September 15, 2017: Deadline for submitting the works.
Monday, October 9, 2017: finalists and winner(s) are announced during the annual Study Day, organized by LAUDEM, which will take place on October 9.
Sunday, November 12, 2017: concert featuring the works of the finalists and the winner(s), included in the Oasis Musicale concert series at Saint George Anglican Church in Montréal.
Le mercredi 22 novembre 2017, Interprétation de certaines œuvres retenues au Concours LAUDEM à l’occasion d’une messe en l’honneur de Sainte Cécile à l’église montréalaise dont elle est patronne.
Wednesday, November 22 2017: Presentation of certain works during a mass honouring Saint Cecilia at the Montréal Catholic church of which she is the Patron Saint.
Beginning of 2018: publications of the winning compositions (and others, as per discretion of the jury) by LAUDEM Publishing House.

Jury and prizes:
The jury will comprise the members of the Administrative Council of LAUDEM.
The composer will receive a monetary prize of CAN $500
The winning work will be published by LAUDEM Publishing House.
The jury can choose more than one winning work. In this case, the monetary prize will be divided between the composers of the winning works.
The jury can accord more than one prize and can recommend more than one work for publication.
The decisions of the jury are final.

The work must use the text provided, but it does not have to be necessarily composed for the competition.
The work may have been performed before the competition.
Each composer may submit more than one work.
The work will be scored for SATB without divisi, a cappella, or with organ.

There are no fees to participate in the competition.

The following information and documents will be sent to
1) A word of PDF file containing your name, nationality, date of birth, e-mail address and phone number.
2) Score in PDF format, letter size or A4 size.

Text (translation included to facilitate comprehension):
The psalmody is included here as information only. You do NOT have to use it in your composition.
Tubas cum cytharis jam nunc assumite. Now take hold of trumpets and zythers
Triumphum Martyris jam nunc celebrate. Now celebrate the triumph of a martyr.
Angelorum et Virginum agmina. Troops of the Angels and Virgins,
Et cum voce laetitiae dicite. With the voice of gladness say:
[O felix Caecilia! O felix Caecilia!] [O blessed Cecilia! O blessed Cecilia!]
Praeclara sitiens illa victoriae Thirsting for a brilliant victory,
In corpus saeviens virtute gratiae. In her body to fury burst the strength of grace,
Tradit furentibus. (Her body) that she delivers to the furious.
Membra mucronibus. Her members (which she delivers)
to their sharp instruments.
[O felix Caecilia! O felix Caecilia!] [O blessed Cecilia! O blessed Cecilia!]
Et nos qui gemimus favens nos respice. And we who moan, look at us favorably.
Saepe quem laesimus sta coram judice. Stand before the Judge whom we have often offended:
Liberis det mentibus ad caelum tendere. May He give our souls, when detached from their bodies,
to go to Heaven.
Purgatosque sordibus fac tecum vivere. And purified from their defilements,
make them live in your company.
[O felix Caecilia! O felix Caecilia!] [O blessed Cecilia! O blessed Cecilia!]


Contact, questions, submissions:

Shastra Summer Intensive: Composing with Indian Voice

March 29, 2017 in All Opportunities, Composers, residencey and summerschool by mwhiteside

July 1 – August 6, 2017 | Los Angeles, CA

Have you ever wanted to learn the basics of Indian classical music, or deepen your knowledge of the art form? Have you been interested in incorporating Indian musicians into the music you write? This workshop, hosted by Shastra, is an opportunity for Western-trained composers to do exactly that. Hindustani vocalist Saili Oak ( and composer Reena Esmail ( team up to co-teach a six-week intensive workshop where you will:

• Receive intensive training in the fundamentals of Hindustani (North Indian) classical music.

• Receive instruction on the best practices for working with Hindustani musicians and incorporating elements of Indian music organically into the music you write.

• Compose your own arrangement of a Hindustani bhajan for Indian singer and string quartet.

• Have this arrangement workshopped, performed and recorded by Saili Oak and string quartet.

• Possible future performances of your work by Saili Oak. Many of last year’s participants have already had subsequent performances of their pieces from this workshop.

Apply and learn more at


hcmf// shorts 2017

March 29, 2017 in All Opportunities, Composers, Performers by mwhiteside

Perform at the UK’s leading festival of new music

hcmf// is excited to announce that applications are now open for hcmf// shorts. hcmf// shorts is a showcase of short informal performances from talented up-and-coming performers and composers which take place in venues across Huddersfield.


hcmf// shorts takes place on Free Monday, the busiest day of the festival with an average 2000 visitors each year, and the date for 2017 has been confirmed as Monday 20 November. This invaluable opportunity provides emerging artists with a platform to perform for members of the public, media and key music industry representatives within a carefully selected programme of established artists.


hcmf// is delighted to now be able to offer mentoring and financial support to five successful applicants to supplement travel and accommodation expenses. The financial support offered will be awarded on a case by case basis based on applicants’ costs.


Proposals are welcomed from all types of performers, and works can be especially composed or existing pieces. There are no age limits. Proposed programmes should be no longer than 20 minutes in duration.


hcmf// will provide:

  • Music stands, chairs and microphones (on request)
  • Piano (cannot be prepared)
  • PA: 16 channel desk, 4 speakers, CD play back

How to apply:


To apply for hcmf// shorts please download the application form or request one from the hcmf// office by calling +44 (0) 1484 471116 or e-mailing


Please return your application form along with a separate proposal (which should be no longer than one side of A4) and supporting audio material via email to


Please only submit one proposal per ensemble / performer and ensure that any audio material is directly relevant to your proposal.


All submissions will be discussed by a panel who will select five performers/ensembles to take part in hcmf// shorts 2017.

Applications for Rough Mix 2017 now open

March 29, 2017 in All Opportunities, Composers, cpd, electroacoustic, residencey and summerschool by mwhiteside

Deadline 17th April

Rough Mix 2017 multi art form creative development residency in Peebles – call for applications to this paid opportunity
Magnetic North’s 2017 multi-art form creative development residency Rough Mix will take place in Peebles from 19th-30th June. It will run at the Eastgate Theatre and Arts Centre and is open to both early career and experienced artists.

The residency is is a paid opportunity for artists from any art form based in Scotland, the rest of the UK or internationally. All participants receive a fee and travel costs within the UK. There are two prioritised places: one for an artist identifying as Deaf or disabled and one for an artist from a Black, Asian or Minority Ethnic background.

ROUGH MIX is a creative lab for early-stage ideas and practice development: a two-week practical opportunity for artists to try out new ideas or new ways of working. It brings together a small core group of practitioners from different disciplines and gives them time to start developing new projects in a supportive and collaborative atmosphere. The practitioners work together with a group of performers and two early-career artists over a two week period before giving a work-in-progress showing at the end.

You can download information about how to apply from our website.

Military Wives Choirs new commission

March 27, 2017 in All Opportunities, choral, Composers by mwhiteside

Deadline – 14th April 2017

Composer brief – Sing, Share, Support commission 2017

Who we are

Families of service personnel move around frequently and their partners are deployed often, and it can be tough to put down roots, make new friends and get to know people in the local community.

The Military Wives Choirs bring women in the military community closer together through singing. We are a unique and special network in which women can come together to sing, share and support each other, wherever they are. We have over 70 choirs throughout the UK and overseas, across six countries, and around 2000 members, and each choir is run by a dedicated team of volunteers who are choir members themselves. Choir members can help one another through the tough times and celebrate the good times – we are stronger together.

The choirs share a core repertoire, which facilitates members’ moving between choirs. This year, we have the opportunity to commission a new song for the network.

Our values

  • SING – we sing great songs that challenge us to be the best we can be. We give performances that make us proud to be in a MWC.
  • SHARE – We enjoy each others’ company and feel part of something special.  Through having fun we feel uplifted and happier.
  • SUPPORT – We are a team and we help each other to cope.  A member of one MWC is an equally valued member of all MWCs.

What we are looking for

We love our ‘headline’ songs, such as Stronger Together, Wherever You Are, Sing and Home for Christmas. We are excited to share an amazing, patriotic, upbeat song which incorporates our key themes of camaraderie, support, strength, family, and fun. We are looking for a song our choirs will leave rehearsals singing, and audiences will remember!

Who can apply

The Military Wives Choirs welcomes submissions from songwriters, composers and other artists. This submission should ultimately be in the form of a melody with piano accompaniment. You can expect to visit rehearsals and collaborate with our choirs.

To apply to fulfil this opportunity, please send your CV along with a previous example of your work, a summary of your vision for the song and a quote for the costs involved to Julia Hudson, Music and Performance Manager via If you are unable to be involved in this project, expressions of general interest are also welcome.

We can only consider applications regarding music which has not already been written; if you would like us to consider adding your pre-existing piece to our repertoire then please email it to instead.

There will then be a shortlisting process; following this we will arrange for shortlisted candidates to come and speak to our panel.

The closing date for applications is 14th April 2017; interviews will be held w/c 17th April 2017.

8th Annual Garth Newel Piano Quartet Composition Competition and Residency

March 27, 2017 in All Opportunities, Composers by mwhiteside

Deadline – November 28, 2017

Founded in 1973, Garth Newel Music Center ( is one of the most active chamber music organizations in the country. Its resident ensemble—the Garth Newel Piano Quartet—performs over 60 concerts annually both at the Center and on tour. Through this competition, the Quartet seeks to broaden the piano quartet repertoire and to support the Center’s ongoing commitment to contemporary music.
About the competition:

The Winner will receive:
• A $3000 cash prize
• A performance of the winning work by the Garth Newel Piano Quartet on the 2018 Summer Music Festival in July, 2018
• A travel stipend to work with the Garth Newel Piano Quartet and attend the premiere in Hot Springs, Virginia
• A high-quality audio and video recording
• Frequent performances of their work by the Garth Newel Piano Quartet, and an eventual studio recording for public release by the quartet.
• The opportunity to also participate in a short-term residency during the time of the premiere. The residency will take place during Garth Newel’s prestigious Emerging Artist Fellowship chamber music program.
The winner will have the opportunity to work closely with the Garth Newel Piano Quartet and our 12 Emerging Artist Fellows, with the possibility of readings and performances of additional works by the composer involving all or any combination of 5 violins, 3 violas, 3 cellos, and 1 piano.

Submitted works must be for violin, viola, cello and piano. Piano trios and quintets are not accepted.
There is no time limit for works.
Submissions from any composer, regardless of age or citizenship, are welcome.
The work must be originally conceived as a piano quartet. Arrangements of previously completed work that have been performed or published are not acceptable
Refer to our FAQ for more clarification

Compositions are ineligible if:
They require live electronics or cannot be performed with just stereo playback
The work has already received a professional premiere.
If they are a transcription or arrangement of another work that has been performed or published.
They have already been professionally recorded for commercial CD release;
The work, in any instrumentation, has been published.
Refer to our FAQ for more clarification

Each composer must submit:
A legible score and parts of professional quality labeled with a pseudonym. No marks identifying the composer may appear anywhere on the score. The title of the work is permissible.
An envelope labeled with the composer’s pseudonym. Information within the envelope should include the composer’s name, address, telephone number, email address and one-paragraph biography.
A digital recording of the work labeled with the composer’s pseudonym (CDs or flash drives are acceptable). MIDI realizations are acceptable.
A self-addressed stamped envelope of appropriate size if the composer wishes to have their materials returned.

All materials should be mailed to:
Composer Competition
Garth Newel Music Center
403 Garth Newel Lane
Hot Springs, VA 24445

All materials must be received by November 28, 2017. Applicants will be notified of the result by e-mail no later than January 31, 2018.

For further information or questions, please call Garth Newel Music Center at 540-839-5018 or email

The Orchestre d’Auvergne and the Orchestre des Pays de Savoie are launching a Composition Contest

March 27, 2017 in All Opportunities, choral, Composers by mwhiteside

The Orchestre d’Auvergne and the Orchestre des Pays de Savoie are organizing a composition contest for the creation of a participative piece for amateur singers.

This will be a short piece for string orchestra and amateur singers.
This contest is inviting composers of all nationalities and aged up to 40 years old at the due date of registrations.

Deadline for submissions: 31st of May 2017
1st Prize awarded by the jury: 3000 €
2nd Prize awarded by the public: 1500 €

The winner’s composition will be recorded and performed in the Auvergne Rhône-Alpes region during the 2017/18 season.

In order to apply, please visit the following websites:

Call for works

March 27, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

Deadline – August 2017

The Screendance Centre of Burgundy ( is currently preparing a collective dance film project for 2018 based on the 1653 Ballet de la Nuit (Ballet of the Night) by Louis XIV. The project consists or creating a 13 hours long dance film, split into 13 distinct one-hour long segments, that will be screened in May 2018 in the Castle of Cerisy (Normandy) from sun set to sun rise, before being uploaded to the Numéridanse page of our Centre ( Each of the 13 segments will be shot by a different screendance maker, using a different piece of electro-acoustic music.

The final projet will be similar to past initiaves from our Centre, such as:
– a collective dance film based on the Rite of Spring by Vaslav Nijinski (Sacre/ilège(s) :…)
– another collective dance film based on the Totentanz by Franz Liszt (Danses Macabres :…).

We are looking for 13 electro-acoustic musicians ready to compose one hour long pieces of music for this project, one for each segment of the night, divided as follows (according to the original libretto of the ballet:

1 & 2- First Watch: Night
3- The Courst of Miracles
4 & 5- Second Watch: Venus and the Graces
6- The Mute Comedy of Amphitryon
7 & 8- Third Watch: Hercules in Love
9- Witches’ Sabbath
10 & 11- Fourth Watch: Orpheus
12- The Dreams
13- Grand Ballet: The Sun

The pieces of music will need to be sent back to us by the end of August 2017 at the latest, so as to leave enough time for the filmmakers and choreographers to make their film by the end of February 2018.

We are currently working on getting a stipend for each composer and filmmaker involved in the project, but at present this project is on a volunteer basis for those looking to experiment and collaborate internationally.

Application deadline: April 1st 2017

Please signal your interest in the project by sending a message to with a CV and a sample(s) of past compositions.

ISSTA 2017 International Festival and Conference on Sound in the Arts, Science and Technology

March 24, 2017 in All Opportunities, Composers, Conference, electroacoustic by mwhiteside

Sept 7th-8th 2017

Dundalk Institute of Technology, Ireland



Peter Kirn (Editor–in–Chief, CDM: Create Digital Music)

Dr Theresa Dillon (Artist–Researcher, Professor of City Futures at Watershed and University of the West of England, Bristol)

Deadline for submissions

Submissions are due Monday 3rd April. Notifications will be sent by Friday 9th June.

ISSTA 2017: Sound–Makers: technologies, practices and cultures

Creative audio and visual practices are increasingly moving from the digital sphere into the ‘real’ world––moving from bits to atoms (Ishii and Ullmer, 1997)––as physical computing technologies continue to become more widely affordable and accessible. Custom–made and repurposed controllers, gestural interfaces and intentionally hackable or reconfigurable instruments now support the creation and control of music and audio-visual media outside the mouse and keyboard paradigm and beyond normative models based on previously–established practices.

These technologies are increasingly being championed by grassroots movements which are driven by the designers, makers and creators who build and use them. Maker groups, festivals and social spaces––frequently more diverse and inclusive than established communities within academia and industrial R&D––have emerged to engage new creators and audiences through music, visual and sound art performances. Spanning disciplines such as controllerism, modular synthesis, interface design, circuit bending and live sound art, many practitioners and researchers are increasingly looking beyond code, bringing, integrating sensors and soldering within their classroom, stage and studio practices.

The Irish Sound, Science and Technology Association (ISSTA) invites makers, creators, performers, thinkers and researchers to come together to share their insights on this emerging field.

Perspectives on our call may include (but are not limited to) the following:

·      New creative approaches using self-designed or hacked controllers

·      Maker movements and the democratisation of technology

·      The gendering of maker spaces/hackspaces and/or other questions of inclusivity or exclusion

·      Communities and maker spaces/hackspaces: chronicling experiences of establishing maker spaces and scenes

·      Open culture and creative technologies: sharing code, technologies and practices

·      Making/hacking and sustainability: installations and electronic music practices using recycled equipment

·      The Global West (or North) and the rest? Differences in global experiences of maker culture and spaces

·      Maker/hacker approaches and developments in education

We welcome the submission of papers, artworks, compositions/performances and workshops on these ideas and related topics for presentation at the 7th ISSTA International Festival and Conference on Sound, 7th-8th September 2017, at Dundalk Institute of Technology (DkIT).

Full call and submission details here:


Equidistant between Belfast and Dublin, with excellent flight, public transport and motorway connections with both cities, DkIT is an education hub for creative technologies in Ireland’s Eastern Corridor region.

Call conditions

Submissions are due Monday 3rd April. Notifications will be sent by Friday 9th June.

The call is open to all practitioners regardless of nationality.

Participants are responsible for their own travel and accommodation and, where relevant, transport of materials; as a small, subscriber–funded organization, we are unable to provide artists’ fees but we do aim to keep registration fees as low as possible.   Registration for ISSTA 2017 is required for participation.

Registration Costs

Registration fees are as follows:
• Professional: €70 (€40 registration + €30 ISSTA membership)
• Postgraduate student: €50 (€30 registration + €20 ISSTA membership)
• Undergraduate student or unwaged: €25 (€15 registration + €10 ISSTA membership)
• Non-members €80

Eighth International Conference on Music /Sonic Art: Practices and Theories

March 21, 2017 in All Opportunities, Composers, Conference, electroacoustic by mwhiteside

MuSA 2016 – Karlsruhe (IMWI)
6 July – 9 July, 2017

Hochschule für Musik, Karlsruhe –
Institut für Musikwissenschaft und Musikinformatik (IMWI)
Am Schloss Gottesaue 7, 76131 Karlsruhe


We are pleased to announce the Eighth International Conference on Music and Sonic Art: Practices and Theories (MuSA 2017), an interdisciplinary event to be held in Karlsruhe, Germany at the Institut für Musikwissenschaft und Musikinformatik (IMWI) ( MuSA 2017 is jointly organized by IMWI and Middlesex University, London.

Conference dates: July 6 – 9, 2017.

Deadline for abstract submission: April 28, 2017.

Keynote presentations: To be confirmed

The principal aim of MuSA 2017 is to advance interdisciplinary investigations in – as well as between – Music and Sonic Art.  Proposals for sessions and individual papers for the Eighth International Conference on Music and Sonic Art: Practices and Theories are invited from academics, independent researchers, practitioners and post-graduate students. Presentation formats include academic research papers (20 minutes + 10 minutes for discussion); reports on practice-based/artistic research or educational programmes (20 minutes + 10 minutes for discussion); and workshops, panel sessions, lecture-demonstrations (30 minutes + 15 minutes for discussion). The Conference committee encourages presentations in which practice forms an integral part of the research. All proposals will be double-blind peer-reviewed. The Conference language will be English. Previous themes and topics can be seen at:;;;;


The theme of MuSA 2017 is Sounds without Borders. Amidst recent political events around the world that threaten to build walls among nations, disconnect communities, block the free movement of peoples across cultures, musical practices display a stark contrast to such divisive attempts in defying and travelling freely across many different kinds of – literal and metaphorical –‘borders’. MuSA2017 will explore the nature, conditions, and consequences of the capacity of musical practices to cross these ‘borders’. We, therefore, invite submissions on the following, and other related topics:

·      Music and politics across borders
·      Migration of musical styles across borders
·      Fluidity of musical experiences
·      Dynamics of musical identities
·      Dissolution of formal boundaries in the creation of music and sound art
·      Multimodal perception of music and sound crossing over sensory boundaries
·      Crossing the borders of performance styles
·      Crossing disciplinary boundaries in musical research
·      Crossing artistic boundaries in musical and sound art practices
·      Crossing the theory-practice divide
·      Bridging scholarly-disciplinary and artistic discourses
·      Travelling across ‘reason’ and ‘emotion’

Other topics that are in line with the Conference’s broad aim of promoting interdisciplinary research within and across Music and Sonic Art will also be considered.

MuSA 2017 will continue to include the popular, one-day event devoted to ‘Re-thinking the Musical Instrument’, focusing in particular on the role of literal and metaphorical borders in the origination, making and playing of musical instruments.

Some of the topics that will be explored during this one-day event include:

·      The acoustical, musical, cultural, symbolic, and ritualistic qualities of musical instruments and the relationships between these (theoretically) distinct kinds of qualities;
·      The discourses that exist in relation to musical instruments in different genres, styles and traditions;
·      The gestural affordances and ergonomic principles of musical instruments and the musical meanings that emerge as a result of these affordances and principles;
·      Performers, improvisers and their instruments: phenomenologies of music making in the context of particular kinds of musical instruments;
·      Composer and instruments: the material, acoustical and expressive qualities of instruments and their relationship to musical languages composers create;
·      Relationships between creativity in performance, nature of musical interpretation and musical instruments;
·      The role of the musical instrument in the creation of musical identities;

We invite proposals on any research area related to the nature and use of western acoustical instruments, traditional ethnic instruments and digital/virtual instruments.

Please submit an abstract of approximately 250-300 words as an e-mail attachment to

Please specify whether you wish your abstract to be considered for the one-day ‘Re-thinking the musical instrument’ event.

As contributions will be ‘blind’ peer-reviewed, please do not include information that might facilitate identification from the abstract. In addition, please include separately the name(s) of the author(s), institutional affiliation (if any) and short biography (approximately 100 words). Deadline for the receipt of abstracts is Friday, 28 April 2017. Notification of acceptance will be sent by 12 May 2016.

The Conference fees are: €120 for delegates (day rate: €40), €100 for presenters (day rate: €35), and €60 for students and others who qualify for concessions (day rate: €20).

If additional information is required please do not hesitate to contact Prof. Dr. Mine Doğantan-Dack or any member of the Conference Committee:

Prof. Dr. Mine Doğantan-Dack ­­–

Prof. Dr. Thomas A. Troge (IMWI, Karlsruhe) –

Prof. Dr. Denis Lorrain (IMWI, Karlsruhe) –

Vis. Prof. Dr. Marlon Schumacher (IMWI, Karlsruhe) –

Prof. Dr. Paulo Ferreira-Lopes (Universita Cattolica Porto/HfM-Karlsruhe) –

Prof. Miroslav Spasov (Keele University, UK) –

Dr. John Dack (Middlesex University, UK) –

Adrian Palka (Coventry University, UK) –

Timothy P. Schmele (IMWI, Karlsruhe)  –

Administrative support: Gundi Rössler (IMWI, Karlsruhe) –

CALL FOR SCORES – works for full (but not Wagnerian) symphony orchestra, ideally between 3-7 minutes.

March 16, 2017 in All Opportunities, Composers by mwhiteside

Deadline – 6th May 2017

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.


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 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).

CALL FOR SCORES 2017 Sound Riot

March 16, 2017 in All Opportunities, Composers by mwhiteside

deadline 31st March

Sound Riot is thrilled to announce its first annual call for scores. Submissions will be considered for programming and recordings in the 2017/2018 season.

Please read the guidelines before submitting any questions.

+ Works for any combination (a subset or the full ensemble) of the following instruments: cello, clarinet*, percussion**, piano, soprano, and mezzo soprano.
+ PDF of complete score plus program note and short bio (all in one PDF document). No files larger than 2048 KB.
+ Recording is preferred but not required.
+ One submission email per composer will be considered, but more than one piece may be included in the email.
+ There is no entry fee.

+ Composers of all ages, experience levels and genres are welcome to submit.
+ Composers in the USA and abroad are welcome to submit.
+ We do not and will not discriminate on the basis of race, color, religion (creed), gender, gender expression, age, national origin (ancestry), disability, marital status, sexual orientation, or military status, in any of its activities or operations.

Submit recording and PDF entry via email to Subject line: CALL FOR SCORES.

Note: There is no guaranteed prize because this is not a competition. Think of it as a proposal. If your piece is selected, we will discuss appropriate compensation for you, and a short exclusivity agreement for us.

*Clarinet in A/Bb/Eb (no bass clarinet)
**Available percussion instruments: marimba, glockenspiel, snare drum, suspended cymbals, tambourine, triangles, castanets, found objects (no vibraphone or xylophone please)

Segnali 2017 – Call for Audiovisual works and live audio-video performances

March 16, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

deadline 27th March 2017

Entry proposals are being accepted for audiovisual work and live audio-video performances for the seventh annual international electronic music festival, Segnali – Audiovisual and Performance Arts, which returns from 2nd-6th of May.

Work created within the last three years is eligible and welcome to be submitted for consideration. Final pieces must be no longer than 15 minutes in duration though proposal documentation for audiovisual work regarding live performances may last up to 30 minutes. Selections may be successful this year, or the committee may choose to defer some successful pieces until next year’s programme.

Each video submitted for selection must be accompanied by a full technical specification written in English or in Italian, which specifies as follows:

the creator(s) of the images
the creator(s) of the music and sound
a short biography of the creator(s) (max 500 characters including spaces)
a short synopsis describing the work (max 500 characters including spaces)
country/countries of production
year of production
duration of the work in minutes and seconds
the original digital format
specifications for the video projection of the work
three pictures (JPG 300 dpi) of the work and one of the authors
authorisation to use extracts of the work for promotional purpose only should the submission be successful
authorisation for the treatment of personal data used during the selection process.

There is no registration fee however shipping expenses are responsibility of the entrants.

The work being submitted for consideration must be received no later than Monday the 27th of March 2017 and may be sent by post, uploaded, or transferred online in high quality video formats (HD, H.264, mpeg4, mpeg2, mpeg, mov, avi).

Please address postal entries to: Prof. Angelo Benedetti – Dipartimento di Nuove Tecnologie e Linguaggi Musicali-Cattedra di Musica Elettronica Conservatorio di Musica “Francesco Morlacchi” Piazza Annibale Mariotti 2 – 06124 Perugia, Italy.

For electronic submissions please contact the organisiation at:

Decisions made by the selection committee will be final. Those who are successful will be notified as soon as possible.

The Senegali – Audiovisual and Performance Arts international festival is promoted by the Francesco Morlacchi Conservatory of Music of Perugia, the Pietro Vannucci Academy of Fine Arts of Perugia, the Umbria Region, and the Oreste Trotta Regional Sound Archive.

Emissary Quartet seeks new repertoire for four flutes

March 11, 2017 in All Opportunities, Composers by mwhiteside

Emissary Quartet seeks new repertoire for four flutes
(please see specific instrumentation guidelines below).

Three winning works will be performed and recorded by Emissary Quartet in Fall 2017.

This project is part of our mission to foster the creation of new music for flute quartet and advocate for the expansion of the flute quartet repertoire. We hope to establish a mutually beneficial partnership between composers and flutists in exploration of new artistic directions for the flute quartet.
Send all materials to by May 1, 2017.
Results will be announced in August 2017.

Questions? Please contact Colleen McElroy at

Submissions must be original compositions for flute quartet (four flutes)
Available instruments: 4 C flutes, 4 piccolos, 1 alto flute, 1 bass flute (all members play all instrments)
Electronics are welcome, but please keep in mind that these works may be difficult to program after the Fall 2017 performance, as we frequently perform in venues without electronics capabilities
Compositions should be 3-12 minutes in length
Multi-movement works should be submitted as a single entry
There is no limit on the number of works submitted, but each work should be submitted as a separate entry
Emissary Quartet seeks new repertoire for four flutes
(please see specific instrumentation guidelines below).

Three winning works will be performed and recorded by Emissary Quartet in Fall 2017.
All three winning compositions will be performed at a public concert in the fall of 2017
All three compositions will be professionally studio recorded and released on our YouTube Channel, in addition to live recording of the Fall 2017 performance
One grand prize-winning work selected from these three will be featured throughout our 2017-2018 season (at least three performances across the US)
Application Materials
Full Score (PDF format, please save as “LastName_FirstName_TitleofPiece”)
Audio rendering or recording, if available (please send as a Google Drive, Dropbox, or iCloud shareable link)
Completed Composer Information Sheet (scan to PDF, please save as “LastName_FirstName_Info”)
There is no application fee

NEW MUSIC PROJECT – San Marino International Music Summer Courses 18-28 July 2017

March 11, 2017 in All Opportunities, Composers, residencey and summerschool by mwhiteside

A new summer course-festival for contemporary music is born in the amazing unesco heritage site of San Marino!

For the 2017 edition (July 18-28th) join Elliott Sharp (composition and electronic composition course, with Gianluca Verlingieri as assistant composer) and other world renowned experts from each group of instruments (Rohan de Saram (cello), Magnus Andersson (guitar), John Kenny (trombone), Roberto Fabbriciani (flute), Ars Ludi (percussions), Nicholas Isherwood (singing) to make great new music!

In addition to the usual daily lessons, there will be a focus on improvisation, music theater and composer-performers in daily afternoon classes taught by faculty. Students will not only work with the expert in their chosen discipline, but will have the opportunity to study with ALL of our faculty.

Cash prize in performance and composition will give the winner a chance to perform a solo recital and write a piece for faculty to be presented in the 2018 New Music Project. Instead of sight read performances, student and faculty will present carefully prepared pieces in quality evenings.

The narrow aesthetic preferences defended by some will be replaced by an open minded perspective embracing all forward looking tendencies in new music.

A wide network of hotels / B&Bs / restaurants with special prices will be available to students

Surf our website for regulations and more details! We are waiting for you to join us in San Marino!!

ArtsIceland – Residency in the Westfjords of Iceland

March 11, 2017 in All Opportunities, Composers, Other Opportunity, Performers, residencey and summerschool by mwhiteside

ArtsIceland – residencies 2017-18
We offer 2-12 week residencies for art professionals in the Westfjords of Iceland.

Description of residency program:
ArtsIceland in collaboration with Outvert Art Space offers artists and other art professionals a space to live and work for two to twelve weeks in the Westfjords of Iceland. Our residencies are self-directed.

Disciplines, work equipment and assistance
We welcome artists of all disciplines that can profit from the space and environment on offer. Studios are equipped with basic furniture.

Accommodation and Studio/ workspace
We offer two residencies with a private room and a private studio for visual artists, writers, filmmakers, musicians and others who may profit from the environment/spaces on offer. Kitchen facilities are shared. We also offer three residencies with a private room and shared studio space, bathroom and kitchen in a separate house.

Fees and support
Artists pay a moderate fee for their stay at the residency. Included in the fee is the accommodation and studio space, internet, heating&electricity, bedding&towels. Also uncluded are weekly meetings with staff and one local excursions. Artists are assisted in organizing an artist talk or other event to present their work to the general public.

Expectations towards the artist
Artists are expected to keep their studio and accommodation clean.

Application information
Applications should include the following:

A – Application form completed with all the requested information.
B – CV (pd-format – max. three A4 pages).
C – 5 samples of work (texts, images, sound samples or videos with a brief description (100 words each)).

To apply for the program please fill out the application form which can be found on our website:
Requested documents (CV and samples of work) should be sent to

Selection process: Applications are reviewed by a panel of professionals and applicants will be notified of the results within 3 weeks of the application deadline.

Khorikos International New Choral Music Competition

March 11, 2017 in All Opportunities, choral, Composers by mwhiteside

KHORIKOS, one of NYC’s top a cappella choirs, is accepting a cappella score submissions for our 3rd ORTUS International New Music Competition.


Send us your best work for mixed a cappella choir! A premiere is welcome, but not necessary.
One submission per composer. Must be a living composer, otherwise no age limits.
The winning compositions will be announced in June 2017.
KHORIKOS is a balanced choir of 32 SATB voices.
15 minutes maximum duration. Shorter works are, of course, welcome.
Submission deadline is April 1st, 2017.
Your submission must include an audio representation of your score in some form (please see below for details).
Any level of technical difficulty welcome. From the simple and beautiful to the complex and dazzling, your imagination is the limit.
If selected, your music will be performed with meaningful aesthetic attention – not just a simple reading by a group of professionals.
The winning compositions will be performed in our beautiful home space, The Shrine Church of St. Anthony of Padua, in New York City’s historic SOHO.


We will select 20-30 works from the pool of submissions (depending on the duration of the pieces), and the members of KHORIKOS will select the winning compositions from there. Sending an audio file with the score is necessary in order to streamline the selection process for the singers – this can include a MIDI realization, rehearsal/performance recording, or a recording of a piano/instrumental reduction. The quality of this recording doesn’t matter as long as it sufficiently represents your score.

The 10 winning compositions will be announced in June 2017 and performed at The Shrine Church of St. Anthony of Padua in NYC on September 23rd, 2017.

We will live stream our performance of the winning compositions, in order to make your music accessible to an international audience. Previous ORTUS competitions have drawn thousands of online viewers!

Please submit your scores via email to and include “new music for Khorikos” in the subject.

Lastly, please like us on Facebook (Khorikos Music) and share this post with your own musical communities so we can reach composers across the world.

The Uncommon Music Festival 2017 Composer Competition

March 11, 2017 in All Opportunities, choral, Composers by mwhiteside

The Uncommon Music Festival is seeking submissions of new compositions for its 2017 Festival in Sitka Alaska. Compositions must fit the following criteria:

Scored for SATB vocal quartet with optional piano
4-6 minutes in length
The composition must not have received a public performance prior to the Festival
The composition can set any text, as long as that text is used with permission. It may deal with any subject matter.

The winner will receive a live performance of the composition, a high-quality audio/visual recording, and a $300 cash prize.

Note that the Festival reserves the right to freely distribute any recordings of the composition through physical or online media. Royalties from paid distribution will be negotiated on a case by case basis.

Applicants must submit the following:

A PDF of the score
An MP3 rendering of the score (audio created by notation software is fine)
Applicants will be notified of the decision by March 31, 2017.

To apply, visit

Call for Works: The Musical Metacreation Concert at the Eighth International Conference on Computational Creativity, Atlanta, Georgia, June 2017

March 9, 2017 in All Opportunities, Composers, Conference, Performers by mwhiteside

Key Dates
April 20th          – submission deadline.
May 10th           – notification.
June 18th          – concert rehearsals.
June 19th        – MuMe concert.
June 19th-20th    – MuMe Workshop
June 19th-23rd     – International Conference on Computational Creativity.
Creators of musically metacreative systems are invited to submit works for a concert of musical metacreation, as part of the Eighth International Conference on Computational Creativity, at the Georgia Institute of Technology, Atlanta. Submitted works can be of any musical style but must involve a performative element and must involve the use of computational creativity techniques in the creation of the work. Examples from previous MuMe concerts include, but are not limited to: reproduction of musical style using machine learning; the evolution of musical structures using interactive genetic algorithms; rule-based systems; systems based on emergence or self-organisation; systems that perform music data mining to create remixes, and so on.
Information on the link for submission, selection committee, musicians, concert venue and available equipment will be made available in a follow-up call for works and all up-to-date information can be found here.
Types of Work
Any work related to MuMe that can be presented in a performance context will be considered. This includes:
Improvising agents that perform alongside live musicians.
Automated composition systems that generate music in realtime or pre-compose music for performers, as well as automated DJ systems.
Systems that use AI methods for other creative objectives, such as harmonising, intelligent looping, or finding suitable matches for a target phrase.
Systems that generate lyrics.
Music that uses evolution, emergence or ecosystemic concepts.
We are also interested in submissions of musebots and other types of interactive installation works relevant to MuMe.
Submission Process
Please submit a one page A4-portrait PDF describing your work before the submission deadline. Your submission should:
Describe the work.
Explain how the work relates to the MuMe theme.
Give a relatively detailed technical description of the system*.
Give detailed performance requirements. As necessary, this may include a stage plan, equipment needs, technical support needs, and performing musicians (you can use additional PDF pages for any supporting items).
A link to any additional documentary material such as audio or video recordings, or online software (highly recommended).
Credits and biography (name, affiliation, short biography up to 150 words).
* It is common to receive submissions that are highly ambiguous about what the proposed system actually does. Works will be rejected if this is the case. The description does not need to be highly technically detailed but it should remove any fundamental ambiguity.
Selection Process
Submissions should not be anonymised.
All submissions will be reviewed by three independent members of the selection committee. Once these reviews have been completed the reviewers and the chairs will discuss these works and reviews. The chairs will provide a meta-review, the three original reviews, and a final decision. Reviewers will be anonymous to the authors, but not to each other. The final decision lies with the chairs, in consultation with the committee.
Selection Committee,
Andrew Brown, Griffith University
Michael Casey, Dartmouth College
Nick Collins, Durham University
Roger Dannenberg, Carnegie Mellon University
Alice Eldridge, University of Sussex
Jason Freeman, Georgia Institute of Technology
Caleb Herron, Artistic Director, Chamber Cartel
Cat Hope, Sir Zelman Cowen School of Music
Anna Jordanous, University of Kent
Alex McLean, University of Leeds
James Maxwell, independent artist
Robert Rowe, NYU Steinhardt School of Culture, Education, and Human Development
Margaret Schedel, Stony Brook University
Gil Weinberg, Georgia Tech Center for Music Technology

The Mammal Gallery

91 Broad St SW, Atlanta, GA 30303

14 minutes by metro from Georgia Tech; 40 minutes on foot.

Mammal has a two channel club sound system, with limited microphones.

The Mammal Gallery – A Space for Creative Minds

Members of Chamber Cartel
Upon Acceptance
Artists are required to be in attendance and set up their own equipment. At least one artist must register for the ICCC conference and MuMe workshop.
A schedule for performances, rehearsals and soundchecks will be made available in the week before the concert. Rehearsals will be on the Sunday 18th June unless otherwise arranged. Soundchecks will be prior to the concert on the afternoon of Monday 19th June.
Workshop Organizers

Pr. Arne Eigenfeldt
School for the Contemporary Arts
Simon Fraser University, Canada

Dr. Oliver Bown
Design Lab, Faculty of Architecture, Design and Planning
The University of Sydney, Australia

Pr. Philippe Pasquier
School of Interactive Arts and Technology (SIAT)
Simon Fraser University, Canada


Kıvanç Tatar
School of Interactive Arts and Technology,
Simon Fraser University, Vancouver, Canada.

Orlando Garcia Composition Seminar at the Suono Sacro Festival in Assis, Italy July 31 – August 6

March 6, 2017 in All Opportunities, Composers, residencey and summerschool by mwhiteside

Orlando Jacinto Garcia will be presenting a composition course at the Suono Sacro Festival in Assisi, Italy this summer open to students and young professional composers. The course taking place from July 31 to August 6 will include group meetings where the concept of sacred music/spirituality in the 21st century will be discussed including a review of works by Part, Messiaen, Gubaidulina, among others. In addition, students will meet individually in private composition class sessions with maestro Garcia as they create a new work to be rehearsed and performed and recorded in concert by the Suono Sacro Chamber Ensemble during the festival. More information about the cost, housing etc., can be found on the Suono Sacro Festival web page; Information regarding the course and how to apply is here more information regarding the courses and the festival is located here and here application forms are available here… The last day to apply and pay the fee is May 31 although only the first 10 applicants that are accepted and pay the festival fee will be guaranteed their place in the festival.

For more information contact Orlando Jacinto Garcia at

New Music for Trumpet

March 6, 2017 in All Opportunities, Composers by mwhiteside

This year I have started a new project geared toward promoting new repertoire for trumpet. I am producing videos of one brand new piece for trumpet and piano each month. The videos will be released on Youtube, Facebook, and my Patreon page, and I would like to make digital downloads of the sheet music available to Patreon Patrons and 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!

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. Patreon Patrons donating $15 per month will get a copy of your piece the month it is released and 50% of that money goes to you. The piece will also go up for sale on my website at the same time for non-patrons at a slightly higher price and 50% of that will go to you as well!

I have several months worth of pieces already but I am in constant need of new music for the future so this is an ongoing opportunity! If you submit a work, I will do my best to take a look at it promptly and let you know if and approximately when I will perform it.

I released the first piece in this project March 1st, 2017. Lyrical Suite for Trumpet by Keith R. Gambling. You can see the first video here and get an idea of what will be coming in the future!

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

Michael Brest

Call for works for live, performative electronics

March 6, 2017 in All Opportunities, Composers, electroacoustic by mwhiteside

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 the
timescale 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 are simply functioning as audio processing for acoustic instruments. We are seeking works for l ive 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.

Email the following to 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

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:

Listening to Ladies showcases non-cis-male composers through online features, a concert series, and a podcast. Learn more at

Notice of Faculty Vacancy: Assistant Professor of Music Composition

March 3, 2017 in All Opportunities, Composers by mwhiteside

The University of Tennessee School of Music

Notice of Faculty Vacancy

POSITION Assistant Professor of Music Composition

RANK AND SALARY Assistant Professor; Nine-month tenure-track appointment beginning August 1, 2017. Salary and fringe benefits are competitive and commensurate with rank and experience.

QUALIFICATIONS Doctoral degree in music composition or composition/theory required. Applicants should have a successful record of university-level teaching experience and recruiting. Successful record of performance, commissions, prizes, and publication in music composition desired. Specific interest and background in film, video game, and commercial music also desired.

RESPONSIBILITIES Teach composition lessons and music theory/technology classes to undergraduate and graduate music majors/minors, including possible courses in sound recording, film scoring, electronic music, counterpoint, choral arranging, instrumentation/orchestration, the undergraduate theory sequence, graduate seminars, and courses in the candidate’s area(s) of specialization. Advise composition majors’ senior recitals and Master’s theses, and serve on graduate committees. Maintain an active record of creative activity and scholarship in music composition. Serve on area, department, school, and college/university committees. Recruitment of undergraduate and graduate students majoring/minoring in composition and music theory.

GENERAL INFORMATION The University of Tennessee is the state’s flagship institution, offering comprehensive programs of undergraduate, graduate, and professional education, research, and public service throughout the state. The campus at Knoxville is the only public institution in the state with the Carnegie classification of “doctoral/research university-extensive.” The campus offers more than 300 degree programs to its 26,000 students, who come from every county in Tennessee, every state in the nation, and more than 100 foreign countries. The Knoxville campus of the University of Tennessee is seeking candidates who have the ability to contribute in meaningful ways to the diversity and intercultural goals of the University.

SCHOOL OF MUSIC The School of Music is part of the College of Arts & Sciences and has a long and successful history of quality and commitment to excellence. The school offers a broad and comprehensive professional music program at both the undergraduate and graduate levels and is an accredited institutional member of the National Association of Schools of Music. The school has 55 faculty members and approximately 350 music majors.

APPLICATION Send letter of application, at least three current (within last 12 months) letters of recommendation as well as a list of at least three additional references, curriculum vitae, teaching philosophy, and links to at least three recent scores with recordings of original compositions to Please put Music Composition Search in the subject line. Do not send any other materials at this time. If necessary, they will be requested at a later date.

DEADLINE: March 10, 2017, or until position is filled.

All qualified applicants will receive equal consideration for employment and admissions without regard to race, color, national origin, religion, sex, pregnancy, marital status, sexual orientation, gender identity, age, physical or mental disability, or covered veteran status. Eligibility and other terms and conditions of employment benefits at The University of Tennessee are governed by laws and regulations of the State of Tennessee, and this non-discrimination statement is intended to be consistent with those laws and regulations. In accordance with the requirements of Title VI of the Civil Rights Act of 1964, Title IX of the Education Amendments of 1972, Section 504 of the Rehabilitation Act of 1973, and the Americans with Disabilities Act of 1990, The University of Tennessee affirmatively states that it does not discriminate on the basis of race, sex, or disability in its education programs and activities, and this policy extends to employment by the University. Inquiries and charges of violation of Title VI (race, color, and national origin), Title IX (sex), Section 504 (disability), ADA (disability), Age Discrimination in Employment Act (age), sexual orientation, or veteran status should be directed to the Office of Equity and Diversity (OED), 1840 Melrose Avenue, Knoxville, TN 37996-3560, telephone (865) 974-2498.  Requests for accommodation of a disability should be directed to the ADA Coordinator at the Office of Equity and Diversity.

Pacific Edge Voices Call for Scores

March 3, 2017 in All Opportunities, choral, Composers by mwhiteside

Press Release:

February 25, 2017
Pacific Edge Voices, Call for Scores 2017

Berkeley CA, 2/20/17 – Pacific Edge Voices announces a call for scores for performance in 2018. This is an opportunity for composers to hear their work performed live and in concert. Scores must be submitted by August 1st, 2017.

This call for scores is open to composers of all ages and of all nationalities. Up to two compositions will be selected.

“Pacific Edge voices is a vocal ensemble with deep experience in rhythmic, innovative work,” explains Director Dr. Lynne Morrow. “We have a fondness for texts that speak to the best of the Human Condition.”

Pacific Edge Voices prides itself on performing cutting-edge music. Works that stand out as genre-bending or out of the ordinary will be given special consideration. Scores do not need to be premieres although never-performed work is encouraged. Pieces should be under 30 minutes in length. Longer works may be considered for performance in 2019. Composers will be notified about score selection by October 1st, 2017.

For more information about Pacific Edge Voices’ Call for Scores 2017 contact us at or call (510) 848-8022. Visit for more information about the group.

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