Peer to Peer residency for early career creator/promoter

January 22, 2020 in All Opportunities, Composers, featured, Opportunity, Other Opportunity, Performers, residencey and summerschool by mwhiteside



13-15 March 2020



Greenlaw, Scottish Borders



A 2-day professional development opportunity for emerging creator/promoters who are embarking on a career writing and promoting – both their own work and the work of others. Open to Scotland based creators who are at the early stage of their career (post training and study) finding a way to create and to get new music heard by new audiences.


Working in new music can often be isolating, with few opportunities for interaction with other creators or promoters or for continuing professional development. The aim of this course is to give creators the opportunity to work together, share their difficulties and benefit from each other’s strengths in a safe non-judgmental environment.

The residency will include:


  • Facilitated getting to know each other time
  • A question-answer session with Judith Serota
  • One-to-one skills and ideas sharing sessions
  • Group discussion and problem solving


NMS is aware that some creator/promoters may have genuine concerns about sharing their ideas with others, for fear of them being misappropriated. While all participants should know in advance that some degree of sharing is key to gaining as much as possible from the workshops, it is also understood that there is some need for privacy and you will not be asked to discuss anything that you would prefer to keep private.


This weekend will be facilitated by Andy Saunders with support from Judith Serota. (Biogs at end of call out)



The course will be open to a maximum of 8 creators, who will be chosen by application. The course is open to creators who are at the early stage of their career, who have some track record in creating and promoting, but are very much still in those early stages. Participants will be selected based upon their shared needs and stage of career: it is hoped that participants will be at a similar level to maximise their opportunities for sharing experiences and learning. All applicants must be Scotland-based.



All residential costs (accommodation and meals) will be covered by New Music Scotland. Participants are only required to pay an attendance fee of £50 for members/£70 for non-members and cover their own travel expenses to and from the venue. There may be options for car sharing which will be arranged once participants are known.


How to Apply

Please send a current CV and cover letter explaining why you would like to take part and naming specific things that you would like to discuss and have help with over the course of the workshops. Email these to Nicola Henderson, NMS Network Coordinator no later than 5pm on Friday 14th February. Applicants will be notified of the decision by Friday 21st February.




Judith Serota is a trustee of the Britten Sinfonia, NMC Recordings and the Riot Ensemble. She has been an External Assessor of National Performing Companies for the Scottish Government since 2007. She ran the Spitalfields Festival in London’s East End from 1988 until 2007. For nearly twenty years she developed the organisation, commissisoning over 40 new works, launching the award-winning Education & Community Programme in 1989 and Spitalfields Winter Festival in 1996. Spitalfields Festival won Royal Philharmonic Society Awards in for work in 2005 and 2006. In 2007 she was given the first BAFA Award for outstanding contribution to British Arts Festivals and awarded the OBE in  2009 for services to Spitalfields Festival. Judith has been a member of Cheltenham Music Festival Advisory Group, an honorary advisor to the Gabrieli Trust and an Assessor for Arts Council England.


Born in Dundee, Andy Saunders grew up in Staffordshire where he began horn lessons as an excuse to miss science lessons! He studied Music at York University before moving back north to Glasgow to complete his Masters degree at the RSAMD with Hugh Potts. Soon after graduating, he was appointed as principal horn of the Slovenian National Opera and Ballet Orchestra in Ljubljana, Slovenia. Since returning to Glasgow, he plays regularly with the Scottish Chamber Orchestra, BBC Scottish Symphony Orchestra, Royal Northern Sinfonia, Scottish Opera and Rednote Ensemble. As a soloist he has performed most of the standard repertoire concertos for the instrument in venues ranging from muddy fields to concert halls and churches.

As well as having founded and run The Cottier Chamber Project, Andy is also the horn player for host ensemble Daniel’s Beard and is the Performance Consultant for the University of Glasgow’s music department.

ABO – Brexit Briefing

December 19, 2019 in featured by mwhiteside

Brexit Briefing

This briefing outlines the key issues that Brexit raised for orchestras and other music organisations.



Freedom of movement will cease after the UK leaves the EU, and the future immigration system will be determined by the Immigration White Paper: The UK’s future skills-based immigration system. This sets out the government’s plans to introduce a new single immigration system. There will no longer be one immigration system for non-Europeans and another for EU citizens ie. a new Points Based System for Migrant Workers will apply to all. This will not, however, come into play immediately after the UK leaves the EU, but will take time to design and implement.


During the Implementation Period, the UK’s EU Settlement gives EU citizens already here, and also those who arrive in the UK during the Implementation Period, the opportunity to secure their future residence in the UK.

For those EU citizens who are residing in the UK before the UK’s exit from the EU, further information about these arrangements can be found here.

The movement of people, rights, pensions, healthcare etc., for Irish citizens in the UK and vice versa will not change whether a no-deal is the outcome or not.


The Government has also published advice on Visiting the UK after Brexit.


Settled and pre-settled status for EU citizens and their families


The EU Settlement Scheme establishes the principle that EU citizens must obtain a specific, individual permission to stay on in the UK after the end of the Implementation Period. EU citizens and their families will be able to apply to the EU Settlement Scheme to continue living in the UK after 30 June 2021.


EU citizens’ rights (and their family members) for those living lawfully in the UK before the end of the Implementation Period will be as follows:


  • EU citizens who have been living in the UK continuously for five years will be eligible for settled status in UK law.
  • EU citizens who arrived before the end of the Implementation Period, but who have not been here for five years, will be eligible for pre-settled status, enabling them to stay until they have accumulated five years, after which they may apply for settled status.
  • The Withdrawal Agreement will also allow close family members who live in a different country to join an EU citizen at any time in the future under current rules, if the relationship existed before the end of the Implementation Period.
  • EU citizens protected by the agreement will continue to be able to work, study and establish a business in the UK as now.
  • EU citizens with settled status or pre- settled status to stay may access healthcare, pensions and other benefits and services in the UK, as they do currently.
  • Frontier workers (EU citizens who reside in one state, and work in the UK) will continue to be able to enter the UK to work under current rules, if they started this work before the end of the Implementation Period.


The EU Settlement Scheme opened fully on 30 March 2019. The deadline for applying is 30 June 2021.


UK nationals travelling to the EU

The European Commission has proposed that British citizens will not need a visa for short stays in the Schengen area or elsewhere in the EU, and will be able to stay for up to 90 days in any 180-day period. Visits to the Schengen area within the previous 180 days before the date of travel will count against the 90-day limit. The 90 day visa period, however, does not entitle third country citizens to work in the Schengen area, and many countries will require a work permit.


If you are intending to stay in the Schengen area for longer than 90 days, or your stay would take you over the 90 days in the 180-day limit, you may need to get a visa before you travel.


We are unable at present to advise as whether work permits will be required to work in EU countries. Work permits are within the national competence of each EU member state. Some may have exemptions for artists or very short-term employment. We recommend having a conversation with the promoter as they should be able to advise and have experience of bringing in ensembles from existing non-visa countries such as the USA and Japan.


Other issues of relevance are:


  • you may need to renew your passport earlier than planned.
  • you should continue to take out appropriate travel insurance (including health cover) before travel abroad.
  • using your mobile phone in the EU may be more expensive.
  • if you intend to use a bank card or other financial services in the EU after exit, this may be affected.
  • if you intend to drive in the EU after exit, you may need a green card from your insurer.
  • you may need an International Driving Permit to drive in the EU after exit.


For further details on National Brexit Information and Preparedness in each EU country visit







The Withdrawal Agreement and Political Declaration on the future relationship between the UK and the EU includes provisions for the continued co-ordination of social security systems.


In the event of No Deal at the end of the Implementation Period, however, social security co-ordination, including access to the A1 certificate system, is in danger of switching off. This puts management and musicians at rosk of double deduction of irrecoverable social security contributions when posting their workers into the EU, until such time as the UK negotiates co-ordination agreements with EU countries.

Music organisations should consider and plan for potential significant additional contributions and administration costs.



The UK Government has issued a Partnership Pack, compiled by HMRC, on border processes after EU exit. This pack provides a high-level guide to processes and procedures that are likely to apply to cross-border activity between the UK and the EU. It includes a leaflet for arts, sports and culture organisations.


Customs procedures if the UK leaves the EU without a deal – this guidance brings together regulations, explanatory memoranda, and an impact assessment in preparation for day 1, if the UK leaves the EU with no deal.


Customs, VAT and Excise regulations if the UK leaves the EU without a deal – this guidance explains the simplified customs processes for UK businesses trading with the EU in the event that the UK leaves the EU without a deal.


Moving goods to and from the EU through roll on roll off ports or the Channel Tunnel – this guidance outlines arrangements for importers or exporters, using roll on roll off ports or the Channel Tunnel to transport goods between the EU and the UK in the event that the UK leaves the EU without a deal.


Music organisations should prepare themselves for the need to obtain ATA Carnets for temporary imports and exports between the UK and the EU. The London Chamber of Commerce has provided some useful guidance for ATA Carnet customers.


Music organisations carrying musical instruments that reach or exceed specific age and monetary value thresholds will no longer require individual licences for export out of the UK. The UK Open General Export Licence will continue to operate, meaning that an individual export licence will not be required to despatch musical instruments to any destination other certain embargoed destinations (currently Iraq and Syria). See:



Of particular importance to musicians is the guidance on trade in, or travel with, endangered animals or plants, or their products. This includes a list of CITES-designated points of entry and exit.

Following pressure from the ABO, DEFRA has confirmed that this list will now include some high-volume ports ie. Dover-Calais, Eurotunnel and Holyhead. It does not however include Immingham and Newcastle. This means that there is no designated port in the North of England, putting Scottish music organisations at a disadvantage


In relation to entering the EU, the designated ports for entry and export are published at:


The European Commission is planning to update this list as there are some Member States which are identifying further ports of entry as part of their preparedness programmes for Brexit. In case of doubt we encourage members to contact the competent authorities of the relevant Member State (


We recommend that musicians avoid the need for Musical Instrument Certificates altogether by carrying a second instrument that does not contain CITES-listed materials.




This guidance outlines what lorry and goods vehicle drivers from the UK may need to do to drive in the EU and EEA after the UK leaves the EU.


The Government has also issued guidance on ECMT International Road Haulage Permits. Of importance to music organisations is that under Article 9 of Chapter 2 of the User Guide on ECMT Multilateral Quota there is an exemption from permit requirements for “transport for non‑commercial purposes of properties, accessories and animals to or from theatrical, musical, film, sports or circus performances, fairs or fetes, and those intended for radio recordings, or for film or television production”.

We have had clarification from the Freight Transport Association that at a meeting of the International Transport Forum in March 2019, the definition of “non-commercial” was changed to:


  1. The purpose of the carriage, as specified in articles 8) and 9) of Chapter 2 of the User Guide is not to directly or indirectly generate any profit, such as where the goods are provided on a charitable or philanthropic basis, or is for personal use; or
  2. The products moved are for the purposes as specified in articles 8) and 9) of Chapter 2 of the User Guide and are returned to their home country of origin without alterations. Where customs procedures apply these products are admitted temporarily (consistent with World Customs Organisation’s principles).


We have also had clarification that at this meeting, Germany removed its previous reservation to this exemption, such that it now applies to all ECMT countries.




This guidance explains how parts of UK intellectual property law will change when the UK leaves the EU. This will affect your business if you:

  • currently own IP, such as copyright, patents, designs and trade marks
  • are involved in the secondary trading of IP-protected goods between the UK and EEA markets
  • operate or rely on cross-border services involving copyright-protected content in the UK and EU



The Government is urging businesses to check they won’t lose access to vital data if the UK leaves the EU without a deal. See some simple steps to do this from the ICO along with detailed guidance.




On 30 January 2019, the European Commission announced in a press release that it has published a final set of no deal contingency proposals regarding the EU budget, which “enable the EU to be in a position to honour its commitments and to continue making payments in 2019 to UK beneficiaries for contracts signed and decisions made before 30 March 2019, on condition that the UK honours its obligations under the 2019 budget and that it accepts the necessary audit checks and controls.” See Creative Europe Desk’s Brexit guidance.


Trustee Advert 2019

August 27, 2019 in All Opportunities, featured, Opportunity, Other Opportunity by mwhiteside

Would you like to be part of shaping how new music is supported and championed in Scotland?

New Music Scotland is a network of artists, ensembles, orchestras, composers, creators, music educators, sound artists, musicians, producers, promoters and anyone who believes in the importance and value of creating new music in Scotland. We exist to connect, enable and support makers of innovative and experimental new music and our members help drive how we do that.

We believe that new music comes from many different cultural traditions and musical practices; what brings us all together is our passion for and belief in the intrinsic value of new music creation for individuals and society as a whole.

Job Description

This is an exciting time to join us and contribute to shaping a bold and inclusive new strategy to support new music makers, performers and promoters to thrive and prosper. We are seeking people who are prepared to work with us to champion new music in Scotland by helping NMS to achieve its vision and objectives.

As a trustee of NMS you will have the opportunity to provide leadership and direction, working with a team to make the decisions that really matter. We are looking for individuals who are passionate about new and innovative music, are strategic thinkers and confident networkers with strong advocacy skills; a willingness to speak your mind and ability to work effectively as part of a team and take decisions on behalf of the organisation.

We would particularly, but not exclusively, welcome applications from people with experience in any of the following areas:

Accounting (in the charity sector)                      Law (media, copyright, HR, charity and/or contract)

Marketing/PR (specifically for new music)         HR (public sector experience)

Risk management (public sector experience)   Fundraising (specifically for new music)


This role is unremunerated although reasonable expenses will be reimbursed.  There are four Board meetings per year plus one development day and a minimum commitment of eight days per annum is required. Meetings usually take place within the central belt, but attendance via Skype is always an option. In addition to Board meetings other contact by email or telephone may be necessary.

Candidates will need to share our deep commitment to the support and development of new and innovative music in Scotland. If you would like to join us in building a vibrant and thriving new music sector and can devote approximately half a day per month in a voluntary capacity, please contact Nicola Henderson ( for more information.


NMS Vision

NMS was set up to help generate a vibrant and thriving new music sector, which will contribute to making Scotland an international leader in contemporary creative music practice. It exists to connect, enable and support makers of innovative and experimental new music:  musicians, sound artists, composers, promoters and producers in Scotland. NMS will create and maintain a supportive environment for innovation.

Its aims are as follows:To bring together makers who are either wholly or partially engaged in creating/performing new and innovative music and sound, and promoting organisations;

  • To establish and maintain communication mechanisms for new music in Scotland;
  • To encourage and facilitate collaboration with other art-forms and sectors;
  • To provide a supportive environment for innovation in music and sound;
  • To actively campaign for the commissioning and programming of new music;
  • To increase the awareness and profile of new music in Scotland, both nationally and internationally;
  • To explore and disseminate new ways of developing audiences for new music.

Duties of the Trustees

The role of the Board, in its simplest form, is to act in the interests of the organisation and its members and to ensure that the organisation acts in a manner which is in accordance with its purposes.

The duties of a trustee board member are to:

  • Ensure that NMS complies with its governing document (constitution), charity law and any other relevant legislation.
  • Ensure that NMS pursues its objects as defined in its governing document.
  • Ensure that NMS applies its resources in pursuance of its objects i.e. not spend money on activities which are not included in the objects, however worthwhile they may be.
  • Contribute actively to the Board of Trustees role in giving strategic direction, setting overall policy, defining goals, setting targets, and evaluating performance against agreed targets.
  • Safeguard the good name and values of NMS
  • Ensure the financial stability of NMS
  • (protect and manage the property of the organisation and to) ensure the proper investment of the organisations funds.
  • (if the organisation employs staff, to appoint the Chief Executive Officer and monitor his or her performance or to monitor the performance of other staff managed by the board or board members).

In addition to the above statutory duties each trustee should use any specific skills, knowledge or experience they have, to help the board of trustees make sound decisions.

The ability to apply the principles and practice of corporate governance and an understanding of the role of non-executive directors is also essential.

Each trustee must have:

  • A strong and visible passion and commitment to the aims of NMS and its strategic objectives and cause
  • Experience of working collaboratively with internal and external stakeholders
  • Strong networking capability
  • A balance of tact and diplomacy with willingness to challenge and constructively criticise
  • Good, independent judgement
  • An ability to think creatively
  • A willingness to devote the necessary time and effort

Missy Mazzoli Interview: Friday, 16th August, 2019

August 19, 2019 in All Opportunities, featured by mwhiteside

What’s it like being in Scotland as a composer from NYC for this production of your opera?

It’s incredible to be in Scotland, for an opera that is set in Scotland. Scotland is the DNA of this piece, which is maybe strange coming from an American, who has not spent that much time here! I do have Scottish ancestry, which I found out a couple of months before I originally came to Scotland, which was weird timing, but the landscape really struck me, particularly the landscape of the Isle of Skye, the landscape of the Highlands; it was very different from anything I had ever seen before, and I fell in love with the people and the culture and the language, and the history and everything about this place. It suggested music to me. The story of Breaking the Waves has this whole deep, emotional landscape that really spoke to me; I heard it before I ever really fully conceived of it.

It’s amazing to work in Scotland; everyone is very supportive, very open, and people don’t come in with a lot of ideas about the kind of music you’re supposed to write. I do find that in other countries, that they’re coming at it from a very specific, stylistic point of view, and judging you not on the quality of your work, but based on the things that for me are not necessarily the qualities by which a work should be judged, such as whether your work has pulse, whether your work uses traditional harmony, even if you’re using it in an un-traditional way. So: Scotland I find very open, which is very refreshing.


And how about working with Scottish Opera?

I love Scottish Opera and feel very supported here. I have worked with fantastic companies in America: Opera Philadelphia, Beth Morrison Projects, Opera Omaha; these companies launched my career. It feels important to note that European companies seem to – on the whole – have more resources, and I can’t not bring that up. That affects my whole experience as an artist; you have more rehearsal time, a little more breathing room when making work here, than in the pressure-cooker world of America!

In the past five years, I have spent more time in London than in Scotland, and I have fallen in love with the theatre tradition in the UK and some of my favourite conversations that I’ve had in the last 5 years have been with UK and Ireland-based directors. I know that Scotland has a different scene than London, and what I love about Scotland is that there seems to be a combination of a strong musical tradition, and this openness to other things, stylistically. No-one is coming to me and saying: ‘this is how we make work in Scotland and this is the trajectory that you need to follow’.


Breaking the Waves is part of the Edinburgh International Festival. Tickets and more information are available here

Development opportunity for Scotland-based composers

July 2, 2019 in All Opportunities, Composers, featured by mwhiteside

Writing for Percussion Composition Course

June 21, 2019 in All Opportunities, Composers, featured, Opportunity, residencey and summerschool by mwhiteside

sound and International Percussion Institute present:

Writing for Percussion

Tuesday 6 August – Wednesday 7 August 2019


for young composers based in Scotland

Cost: £40


International Percussion Institute (IPI) is an annual seminar for percussionists taking place in Aberdeen, Scotland. This year, the IPI will also feature an inaugural composition course for young composers based in Scotland aged 17 to 26 on Tuesday 6 and Wednesday 7 August, in partnership with sound. The theme for the course is writing for percussion.


The course, led by leading composer Joe Duddell, will consist of demonstrations, workshops, and a chance to collaborate with IPI participants. Over the 2 days, composers will create a short piece for percussion which will be performed at a sharing session.


The aim of the course is to give composers an opportunity to improve technical skills in contemporary composition for the percussion as well as developing general compositional ideas.



How to Apply

Please send the following information by email to

  • some information about yourself (biography/CV including your date of birth);
  • a short paragraph detailing your motivation for taking part;
  • a couple of examples of pieces you have already written (either score or recording).

The deadline for applications is 15 July 2019.


It costs £40 to participate. Participants are responsible for organizing their own travel and accommodation if not based in Aberdeen.


We will let you know if you have been selected for the composition course by 19th July 2019.


If you have any questions or need further information please contact or phone 01330 826526.

The Night With… Call for Scores

June 17, 2019 in All Opportunities, Composers, featured, Opportunity by mwhiteside

LSO Soundhub and Jerwood Composer+

June 17, 2019 in All Opportunities, Composers, featured by mwhiteside

Scottish Awards for New Music 2019

May 14, 2019 in featured by mwhiteside

The winners of the third annual Scottish Awards for New Music (SAFNM) have been announced at an event hosted by music writer and broadcaster, Kate Molleson, at the Drygate Brewery in Glasgow on the evening of Monday 13 May 2019.


The Scottish Awards for New Music highlights the country’s contemporary music scene, and showcases the innovative, experimental and ground-breaking work taking place in Scotland. The winners of the eleven categories Scottish Awards for New Music 2019 are, in no particular order:


  • New Music Performer of the Year : Garth Knox
  • Royal Conservatoire of Scotland Award for Contribution to New Music in Scotland :
    Red Note Ensemble
  • Award for Large Scale New Work sponsored by PRS for Music : Helen Grime Woven Space
  • Dorico Award for Small Scale New Work sponsored by Steinberg :
    James Dillon Quartet No. 9
  • Recorded New Work : softLOUD |  Sean Shibe on Delphian Records
  • The Good Spirits Company Award for Innovation in New Traditional Music, joint winners: Ailie Robertson Seven Sorrows & Grit Orchestra Bothy Culture
  • EVM Award for Electroacoustic/Sound Art Work : Pippa Murphy Breathe in me
  • Creative Programming : sound
  • RCS Award for Making It Happen : Nevis Ensemble
  • Community/Education Project :
    Lost At Sea East Neuk Festival / Scanner / Svend McEwan-Brown
  • Award for Collaboration in New Music : Simon Thacker’s Svara-Kanti
    featuring Simon Thacker Neyveli / B. Venkatesh / K.V. Gopalakrishna / N. Guruprasad / Farid Yesmin / Raju Das Baul / Sunayana Ghosh



Alan Morrison, Head of Music at Creative Scotland, commented: “The new music scene in Scotland is fearlessly open to a diversity of influences and ideas, as could be seen and heard right across the excellent list of nominees for this year’s awards. It’s really encouraging to see both emerging talents and leading lights among the winners, as well as festivals and performers who are dedicated to taking new music out of the central belt, to Fife, Aberdeenshire and beyond. Creative Scotland is proud to support a sector that makes such great music while breaking the rules and challenging the norm. Now is the time for Scotland to show how its new music can influence the rest of the world.
The event, attended by performers, creators, leaders and supporters of the vibrant music scene in Scotland, had live performances, supported by the Musicians’ Union, from winning performer, Garth Knox and a piece from a winning composer, Pippa Murphy, performed by Kate Halsall.
Panellist and Artistic Director of Huddersfield Contemporary Music Festival, Graham McKenzie said, “It was a pleasure to be involved in the Scottish Awards for New Music for the first time, and very exciting to be introduced to the range and diversity of of new music being produced across the country. The quality and innovation of the work was impressive, and I was particularly pleased to see a strong emphasis on gender balance represented. On a personal basis the whole experience has brought to my intention a number of composer voices here in Scotland that I will certainly look to work with in the future.


The awards themselves were designed and created by Edinburgh-based artist and maker,
Emma McDowall. Initially studying at Gray’s School of Art, Emma now creates a collection of contemporary concrete pieces. Focusing on the interplay between colour and material, and using the naturally occurring surface pattern and textural imperfections Emma hand-casts colourful, unique works in concrete, from vessels to pieces of art.


Over two hundred nominations were submitted by artists, audience members and the general public, reinforcing the extent of new music activity in Scotland.


Created by New Music Scotland with support from Creative Scotland, Royal Conservatoire of Scotland (RCS), PRS for Music, Dorico by Steinberg, The Good Spirits Co. Glasgow, Musicians’ Union, and EVM(Effective Visual Marketing) and New Music Scotland.

Call out for designs to create the award for the third Scottish Awards for New Music

February 27, 2019 in All Opportunities, featured, residencey and summerschool by mwhiteside

New Music Scotland


Recent Graduate Opportunity

Call out for designs to create the award for the third Scottish Awards for New Music.


New Music Scotland is a network of composers, performers, programmers, producers, educators, funders and audience.  NMS facilitates the creation, production and promotion of experimental, innovative and imaginative new music. We believe that new music comes from many different cultural traditions and musical practices; what brings us all together is our passion for and belief in the intrinsic value of new music creation for individuals and society as a whole.

The Scottish Awards for New Music have been created by New Music Scotland with financial support from Creative Scotland, to celebrate and champion the achievements of Scottish and Scotland-based composers, musicians, sound artists and ensembles. They will highlight and showcase the innovative, experimental and ground-breaking work taking place in Scotland. Find out more here –

What are we looking for?

A simple, but stunning award for the winners. Something that captures the essence of what the awards are and is a wonderful piece of art for the winners to keep. The work can be 2D or 3D – whatever you feel is achievable within the budget, facility and timescale limitations. There are 12 awards that each need a design – one design for all could work or an individual design for each. Again, it depends on your thinking in terms of the budget available and design for the work.

The 12 awards are:

  • Dorico Award for Small / Medium Scale Work sponsored by Steinberg (1-10 performers)
  • Large scale work
  • EVM Award for Electroacoustic/sound art
  • Recorded New Work
  • Award for Collaboration
  • Community/Education Project
  • New Music Performer of the Year
  • Contribution to New Music in Scotland
  • Award for Creative Programming
  • Making It Happen Award
  • The Good Spirits Company award for innovation in new folk music
  • Award for innovation in new jazz music


We require you to be able to make the work in your own studio or have access to a studio for fabrication. If there are costs for this, they must be included within the budget.


You will have regular contact with the Awards Planning Group, who will arrange appropriate mentoring and research opportunities whenever possible.


£550 – artist fee

£1000 – materials and expenses for creating and fabricating the award


This is an opportunity for emerging artists. You should have full time study within about the last 3 to 5 years. This is a development opportunity  and we will be interested to hear why you think this opportunity will help you in your practice. The chosen design will be selected based on the how well the design idea fits the brief, the ability to bring it in under budget and the experience of the artist to show they can manage the project on time and to budget.

To apply

Please apply via email to:


  1. letter of application indicating:
    • why you are interested in this opportunity and previous experience
    • Your design ideas and the thinking behind them
    • How the awards would be fabricated
    • Budget
  2. appropriate supporting material to demonstrate the quality of your previous work – eg, 10 images via file sharing site or video/website link
  3. CV
  4. Contact details for 2 referees


Deadline: 14th March 2019

Decision on winning design: 21st March

Awards to be created and delivered: 6th May

Award Ceremony: 13th May


Here is are images of previous years’ awards, created by Elaine Henderson in 2017 and Daisy Chetwin in 2018.

Scottish Awards for New Music designed by Daisy Chetwin in 2018

Scottish Awards for New Music designed by Elaine Henderson in 2017









Call out for designs to create the award for the second Scottish Awards for New Music

December 20, 2017 in All Opportunities, featured, Other Opportunity by mwhiteside

New Music Scotland

Recent Graduate Opportunity

Call out for designs to create the award for the second Scottish Awards for New Music.

Download the brief here or read on.

New Music Scotland is a network of composers, performers, programmers, producers, educators, funders and audience.  NMS facilitates the creation, production and promotion of experimental, innovative and imaginative new music. We believe that new music comes from many different cultural traditions and musical practices; what brings us all together is our passion for and belief in the intrinsic value of new music creation for individuals and society as a whole.

The Scottish Awards for New Music have been created by New Music Scotland with financial support from Creative Scotland, to celebrate and champion the achievements of Scottish and Scotland-based composers, musicians, sound artists and ensembles. They will highlight and showcase the innovative, experimental and ground-breaking work taking place in Scotland. Find out more here –


What are we looking for?

A simple, but stunning award for the winners. Something that captures the essence of what the awards are and is a wonderful piece of art for the winners to keep. The work can be 2D or 3D – whatever you feel is achievable within the budget, facility and timescale limitations. There are 11 awards that each need a design – one design for all could work or an individual design for each. Again, it depends on your thinkings in terms of the budget available and design for the work.

The 11 awards are:

  • Small scale work
  • Large scale work
  • Electroacoustic/sound art
  • Recorded New Work
  • Award for Collaboration
  • Community/Education Project
  • New Music Performer of the Year
  • Contribution to New Music in Scotland
  • Award for Creative Programming
  • Hands Up for Trad award for innovation in new folk music
  • Jazz from Scotland award for innovation in new jazz music



We require you to be able to make the work in your own studio or have access to a studio for fabrication. If there are costs for this, they must be included within the budget.



You will have regular contact with the Awards Planning Group, who will arrange appropriate mentoring and research opportunities whenever possible.




£550 – artist fee

£1000 – materials and expenses for creating and fabricating the award



This is an opportunity for recent graduates. By recent, we mean that you must have completed full time study within the last 3 years. This is a development opportunity  and we will be interested to hear why you think this opportunity will help you in your practice. The chosen design will be selected based on the how well the design idea fits the brief, the ability to bring it in under budget and the experience of the artist to show they can manage the project on time and to budget.


To apply

Please apply via email to:


  • letter of application indicating:
    • why you are interested in this opportunity and previous experience
    • Your design ideas and the thinking behind them
    • How the awards would be fabricated
    • Budget
  • appropriate supporting material to demonstrate the quality of your previous work – eg, 10 images via file sharing site or video/website link
  • CV
  • Contact details for 2 referees

Deadline: 26th January 2018

Decision on winning design: 2nd February

Awards to be created and delivered: 2nd March

Award Ceremony: 7th March


Here is an image of last year’s award, created by Elaine Henderson. It was a beautiful ceramic bowl that contained a sound wave from each of the winning pieces.












Scottish Awards for New Music 2018

October 9, 2017 in All Opportunities, Composers, featured, Other Opportunity, Performers by mwhiteside








Following on from the inaugural event in 2017, New Music Scotland are pleased to launch the second annual Scottish Awards for New Music.  Created by New Music Scotland with support from the National Lottery through Creative Scotland’s Open Project Fund, Help Musicians UK, the Incorporated Society of Musicians, Holiday Inn Glasgow Theatreland, Steinberg, and EVM Marketing, the awards will celebrate and champion the highest standards and achievements of Scotland’s composers, musicians, sound artists, programmers, producers and ensembles. They will highlight and showcase the innovative, experimental and ground-breaking work taking place in Scotland, as well as the depth and breadth of the country’s contemporary music scene.


The Scottish Awards for New Music are welcoming nominations for music being made by Scottish and Scottish-based creators and facilitators of new music. The eleven categories, including three new ones for 2018, are listed below. Partnerships with Hands Up for Trad and Jazz from Scotland have enabled the creation of new categories which focus on experimental and ground breaking traditional and jazz music.  Nominations are open from Saturday 7 October 2017 until Monday 11 December 2017 and can be made by both members of the public and industry professionals.  Nominations can be made via the website where details of eligibility and submission criteria can be found:



An international panel of composers, performers, programmers and music industry experts will meet in January to discuss the nominations, following which a shortlist will be announced.  Profiles of the shortlisted entries will be available on New Music Scotland’s website in the weeks leading up to the awards evening on Wednesday 7 March 2018.


New Music Scotland Chair, composer Oliver Searle said, The Awards offer a fantastic opportunity to raise the profile of new music in Scotland and further afield, spreading news of the innovative new music scene to potential audiences around the globe. Rarely do you manage to gather so many of the key figures and institutions of new music making in Scotland together in one room. Coupled with the high profile supporters and partnerships involved in making this event a reality, the Scottish Awards for New Music 2018 promises to be an exciting event for Scotland’s new music sector.”


Alan Morrison, Head of Music, Creative Scotland, said, “Music is an art form that never sits still – it is always pushing back barriers and reshaping the cultural landscape. The Scottish Awards for New Music celebrate such experimentation and throw a spotlight on our most talented composers, musicians, sound artists and ensembles. Scotland is one of the most vibrant and collaborative countries in the world for new music, and these awards raise the profile of this exciting sector both nationally and internationally.”







  • Electroacoustic/Sound Art Work
  • Dorico Award for Small Scale New Work sponsored by Steinberg (1-10 performers)
  • Large Scale New Work (11+ performers)
  • Recorded New Work
  • ISM Award for Collaboration in New Music
  • Community/Education Project
  • Contribution to New Music in Scotland
  • Help Musicians UK Award for New Music Performer(s) of the Year
  • Award for Creative Programming
  • Award for Innovation in New Folk Music in association with Hands Up for Trad
  • Award for Innovation in New Jazz Music in association with Jazz from Scotland


THE PANELLISTS will include:


  • Marc Dooley (Edition Peters)
  • Karen Power (Contemporary Music Centre, Ireland/Composer)
  • Marija Saraga (Muzički Biennale Zagreb/Croatian Composers’ Society)
  • Tom Poulson (musician)



  • £20 before shortlist announcement
  • £25 after shortlist is announced (January 2018)
  • table booking options available from January 2018
  • tickets include a welcome drink and food





  • a paying bar will be available throughout the evening
  • the duration of the event is approx. 2 hours

Wednesday 7 March 2018

8.00pm, Drygate Brewery

85 Drygate

Glasgow, G4 0UT



Andy Saunders  07794 159214



Notes to Editors:


  1. New Music Scotland is a network of composers, performers, programmers, producers, educators, funders and audience. NMS facilitates the creation, production and promotion of experimental, innovative and imaginative new music. We believe that new music comes from many different cultural traditions and musical practices; what brings us all together is our passion for and belief in the intrinsic value of new music creation for individuals and society as a whole.
  2. Creative Scotland is the public body that supports the arts, screen and creative industries across all parts of Scotland on behalf of everyone who lives, works or visits here. We enable people and organisations to work in and experience the arts, screen and creative industries in Scotland by helping others to develop great ideas and bring them to life. We distribute funding provided by the Scottish Government and the National Lottery. For further information about Creative Scotland please visit Follow us @creativescots and


  1. Steinberg is known the world over for its music and audio software and hardware solutions. The company has been developing, manufacturing and selling innovative products for musicians and producers in the music, film, post production and multimedia industries since 1984. Steinberg products are used by Grammy and Oscar award-winning composers, engineers and producers. The company also offers business customers license-management and copy-protection systems. Dorico is the company’s next-generation professional scoring software for composers, arrangers, engravers, copyists and educators.

Visit for more information.


  1. Help Musicians UK is the leading independent music charity. Since 1921, Help Musicians (HMUK) has provided help, support and opportunities to empower musicians at all stages of their lives.

HMUK is creating a sustainable future that recognises the worth of all musicians.  The charity works in partnership to transform the music industry through advocacy, campaigning, solutions and targeted investment for all those within it.

Find out more at:   @HelpMusiciansUK


  1. The Incorporated Society of Musicians (ISM) is the professional body for those working in the music profession. They promote music and look after the interests of professional musicians.

The membership of approximately 7,000 covers both individual musicians and corporate bodies. Individual members include leading conductors, featured and non-featured artists, orchestral musicians working in all of the UK’s leading orchestras, composers, animateurs and arrangers.

The corporate membership of over 160 music organisations includes the Royal College of Organists, Association of British Choral Directors, Association of British Orchestras, Wells Cathedral School Choir Schools’ Association, Friends of the Musicians’ Chapel, Worshipful Company of Musicians Incorporated Association of Organists, Music Masters’ & Mistresses’ Association, Wigmore Hall and more.

Find out more at:

Winners Announced for the First Scottish Awards for New Music

March 9, 2017 in featured, safnm2017 by mwhiteside

Winners of the first Scottish Awards for New Music have been announced following an event hosted by internationally acclaimed Scottish-based opera star, Andrea Baker, at the Drygate Brewery in Glasgow on Wednesday 8 March 2017. The event featured performances from the award-winner of the recorded new work category, cellist Robert Irvine, and award-nominee performance artist and musician, MacGillivray.

The seven winners of the Scottish Awards for New Music 2017 are, in no particular order :

Red Note Ensemble

Help Musicians UK Award for New Music Performers of the Year, presented by Claire Geveaux

Ailie Robertson, composer and curator

Royal Conservatoire of Scotland Award for Achievement in New Music, presented by Janet Archer, Chief Executive, Creative Scotland



Holiday Inn Award for Sound Art / Electroacoustic Work, presented by Oliver Searle, Chair of New Music Scotland


Robert Irvine for Songs and Lullabies, Delphian Records

EVM Award for Recorded New Work presented by Alan Morrison, Head of Music, Creative Scotland


Drake Music Scotland – Wagner’s School of Cool

Royal Conservatoire of Scotland Award for Community / Education Project presented by Gordon McPherson, Head of composition, RCS.

David Fennessy for Panopticon

Dorico Award for Small/medium Scale Work sponsored by Steinberg, presented by Richard Llewelyn


Helen Grime for Two Eardley Pictures: Catterline in Winter and Snow

Large Scale Work sponsored by PRS for Music presented by Stuart Fleming and Harriet Wybor

The Awards were created by New Music Scotland with financial support from Creative Scotland, to celebrate and champion the highest standards and achievements of Scotland’s composers, musicians, sound artists and ensembles. They highlight and showcase the innovative, experimental and ground-breaking work taking place in Scotland, as well as the depth and breadth of the country’s contemporary music scene.

Alan Morrison, Head of Music, Creative Scotland, said: “With such an amazingly strong set of nominees across each of the categories, the inaugural New Music Scotland Awards have instantly claimed their place on the classical calendar. These are the performers, composers and ensembles who are driving forward one of Scotland’s most exciting and experimental music sectors. Congratulations to tonight’s winners and also to the venues, festivals and record labels who bring their work to an increasingly eager public.

Alongside the presentation of the awards the Musicians’ Union supported the performances by Robert Irvine and MacGillivery.

There were over a hundred and eighty nominations submitted by artists, audience members and the general public, reinforcing the depth and breadth of new music activity in Scotland. Nominations ranged from amateur musicians and emerging artists, to major organisations and household names and covered a wide-range of new music.

Alec Frank-Gemmill on James MacMillan’s Horn Quintet

February 28, 2017 in featured, guest blog by mwhiteside

BBC Radio 3 New Generation Artist and Scottish Chamber Orchestra Principal Horn Alec Frank-Gemmill will be in front of the orchestra this week for the first performances of a new arrangement of James MacMillan’s Horn Quintet.  NMS Board member (and horn player) Andy Saunders put a few questions to Alec:

How did the idea of expanding the Horn Quintet rather than writing a completely new piece come about?

I think that the SCO (specifically Roy McEwen, who retired as Chief Exec last summer) approached James MacMillan with the idea of commissioning a concerto. Having written a quintet for horn and strings not so along before, James had already been toying with the idea of expanding it for horn and string orchestra. Abracadabra!

Without giving away any spoilers, what’s the advantage of playing a piece like this in a larger version?  Does it have a radically different impact to the original chamber version?

I’ve performed the Quintet only once before. That piece needs every player to know everyone else’s part as well as their own. This the kind of thing that you often about music, but in the case of the Horn Quintet it’s no exaggeration. You can lose your way in almost every bar. The great advantage on a practical level is that for the Concertino there will be a conductor. So if he (in this case it’s Andrew Manze, a hero of mine) keeps his place hopefully everyone else will too! On a purely musical level, I think that expanding the piece like this makes sense because the strings often act as a unit independently of the horn. Finally, theatrically there is something brilliant about this work being presented with lots of noise (I.e. massed strings) and the horn blasting at the front. Spoiler alert…

A piece like this is technically very challenging and explores the extremes of your instrument’s range.  How do you go about preparing for it in amongst the other repertoire – much of it very different to this – that you have on the go during the same period?

Well that’s perhaps a bit negative! I love the variety of having lots of different music on the go at once. Actually, as with the Ligeti Trio, I’ve found that having the Quintet/Concertino “on the chops” keeps me fit for other music. In other words, if I am in shape to play this piece I’ll be in shape for pretty much anything else.

The horn writing here is vintage-MacMillan – shades of Isobel Gowdie and Rio Sumpúl throughout.  Is there anything in MacMillan’s horn writing that you think identifies it as uniquely him…?

Great question. There is probably a Master’s thesis in there. From my experience performing JM’s music (rather than employing post-Schenkerian head-scratching) I’d say yes, definitely, but I’m not sure what. Perhaps it is the way he treats the horn as a cross between a standard melodic wind instrument and an out-of-control wild animal. In this way the writing is challenging but always appropriate to the horn, rather than something that could be transferred to trumpet or trombone (as can often be the case with new music).

It’s interesting to see that, other than exploring the extremes of the range, there aren’t any extended techniques used in the solo part. Have you any thoughts on how effective (or not) the use of things like multi-phonics, half-valving and such like can be?  Do you think that it rests more with the player or the composer to make it work?

Ha! Leading questions from another horn player! It’s of course a shame when composers write extended techniques for the instrument for the sake of it, rather than to produce an effective musical expression. Another pitfall is introducing these kind of techniques in a context where they aren’t clear to the listener (and instead sound like the player struggling to do something more straightforward). That said, if the composer writes it, we’ve got to play it. It’s all too easy for us players to give up, believing a particular effect is impossible rather than really committing to mastering it.

The SCO’s core repertoire includes a lot of classical and romantic music.  Do you feel that there is a natural line through the concertos by Haydn, Mozart, Weber and Richard Strauss to pieces like this one, and Ligeti’s Hamburg Concerto?

Ligeti actually mentions Weber’s Concertino when discussing his Hamburg Concerto. The connection to earlier composers is a result of the natural horn writing that Ligeti employs. Strauss has a link to the past in his horn writing since he accompanied the Mozart concertos on the piano while his father played the horn part. What I really like about JM’s Concertino is that there is a much less obvious link here to previous horn music. It’s really NEW and that is a real achievement when writing for the horn.

Give us an insight into the mindset of a soloist about to give a world premiere of a high profile composer…what will be going through your mind as you walk on stage?

Not a lot, hopefully. New music is often very challenging and, therefore, has the advantage that most of the mind is taken up with getting the notes right and not with the importance of the occasion.

If you could commission a piece for solo horn and orchestra from any living composer (other than James MacMillan or the SCO’s resident composer, Martin Suckling), budget and timescale not an issue, who would it be?

Hans Abrahamsen. He has written a magical trio for violin, horn and piano. I’m sure he would write something beautiful, and of lasting significance, for the instrument.

If you have one crucial piece of advice to give to composers writing for horn, what would it be?

Don’t write anything that would sound better on the trumpet or trombone!


The SCO have kindly offered a 2 for 1 ticket deal for NMS members.  Details are in the Bulletin update sent out on Monday 27th February.



Announcing the Scottish Awards for New Music Shortlisted Nominees

January 26, 2017 in All Opportunities, featured by mwhiteside

The shortlist has been selected for the first Scottish Awards for New Music ahead of an awards event in the Drygate Brewery, Glasgow, at 8.00pm on Wednesday 8 March, 2017.

There were over a hundred and eighty nominations submitted by artists, audience members and the general public, reinforcing the depth and breadth of new music activity in Scotland.  Nominations ranged from amateur musicians and emerging artists, to major organisations and household names and covered a wide-range of new music.

Sauchiehall – Oliver Searle

January 9, 2017 in All Opportunities, featured, guest blog, Oliver Searle by mwhiteside

Oliver Searle

Oliver Searle

I moved to Glasgow in 2001, and since then, have witnessed the music scene flourish (to perhaps the second largest in the UK, although I only have anecdotal evidence to support this statement), and encountered a certain amount of backtracking and surprisingly positive comments about the city from those who might once have slated its history and outward image. I never expected to end up living here and am unsure if it would have had the same draw as a city in attracting people to stay even 20 or 30 years ago, particularly in the way in which it has fostered an ever-growing community of artists and musicians.

Sauchiehall Street was always a mythical place when I was younger, alive with stories of nights out and goings-on, delivered to me by older people on return to my home town. I remember on occasion passing through Glasgow (on a bus back from a sporting event when I was a young teenager), and looking out of the window in awe (and with some trepidation) at Sauchiehall Street on a Saturday night.

The street has obviously had various heydays, high points and low points, but still seems to be a watchword for the city itself, regardless of its fortunes. It has an amazing history of events and the steady stream of people and businesses that have frequented it over time (and continue to do so) have left their mark in many ways.

When I was approached in 2015 to write a new work forrsno-logo_125 the RSNO (as part of their 125th Anniversary celebrations), Sauchiehall Street seemed like an obvious starting point for me. The orchestra has moved from one end of the street to the other (Henry Wood Hall, to the GRCH), past many music venues and sites of historical interest; the name itself is also iconic and a little unusual (apparently a rough translation from Scots would be ‘willow grove’).

Although the work has been performed live, the principal function of the piece was for a recording, which would be included in an App, to help introduce a wider audience to the orchestra, as well as to new music. Within the App, a listener can choose their own path through the work, making decisions about where they would like to sit within the orchestra during the course of the piece.

I spent a day with the Orchestra in February 2016, recording with binaural microphones (the ones that are rather freakishly shaped like disembodied human ears!), in their new hall at the GRCH, which entailed a certain amount of stopping and starting to try and allow the individual ideas contained within the work to be conveyed as clearly as possible.

Sauchiehall is a homage to the street (and perhaps, therefore, the city of Glasgow), and the music venues here or nearby that have called it home over the years, attempting to give a short musical snapshot of the area, both past and present. Having considered how listeners might experience this work within the App, I decided to draw on a number of musical references, which are overlayed and juxtaposed, presented by different sections of the orchestra at the same time, thus allowing listeners to focus more closely on one layer at a time.

img_4411These references include:

  • A Reel melody (a reference to Scottish traditional music, which is heard in full at the end, in the high strings)
  • A fragment of a short song by Gustav Holst (The Thought; a homage to Holst, who used to play in the orchestra), the opening gesture of which opens the piece, then returns with a longer phrase in the middle section
  • A brass fanfare, based on the Hallelujah Chorus (the first piece of music performed by the orchestra)
  • A rock drum rhythm and accompanying bass-line (a homage to the amount of rock and metal bands I have seen performing live in Glasgow)
  • 1930s dance-band material (a reference to the number of dance halls and cinemas on Sauchiehall Street at one time).
  • A hymn tune (a reference to the long-gone churches that are sadly a lost part of Glasgow’s heritage)
  • A simple Buddhist melody in the horns towards the end (there is a Buddhist centre on Sauchiehall Street, which I have walked past for many years!), which gradually builds, as if starting from afar and moving past in a procession
  • Orchestration in the style of Copland’s Corral Nocturne (from Rodeo; he conducted the work with the orchestra in 1964), in the slower middle section
  • The ‘Humming Chorus’ from Madam Butterfly (the first production by Scottish Opera, for which the orchestra performed under the baton of Alexander Gibson), this is also overlayed with Copland and Holst in the middle section of the work

I initially began experimenting with an online device called a ‘YouTube doubler’, in which you can run two music videos simultaneously; this was the starting point for the work, putting img_4410the Corral Nocturne alongside the Humming Chorus and enjoying the result so much that I began to notate sections of it for use in the final piece.

It is not the first time I have incorporated references to Sauchiehall Street or Glasgow in my work; I have increasingly become interested by our attachments – socially and culturally – to the places we were born, grew up in, or live and work, and how these may change over time. I am quite inspired by local history, or places I have visited, and how this might trigger musical references from personal memories.

In 2007, I also wrote Pride, Poverty and Pianos, a large-scale work for choir and orchestra (for the BBCSSO), drawing on the history of the East End of Glasgow and stories from local residents, which also included a live recording of boy racers on Sauchiehall Street, mixed with fragments of an Orange March and percussive rock rhythms.

Sauchiehall can be heard by downloading the RSNO 360 App, available from the Apple App store.

Red Note’s Review of 2016

December 23, 2016 in All Opportunities, featured, guest blog, News, review - rednote by mwhiteside

Welcome to Red Note’s 2016 Review of the Year! It’s been an amazing 12 months full of challenge, excitement and new things for everyone. We thought we’d share some of what happened with you to help you while away the long Winter evenings.

From all of us in the Red Note team, we’d also like to to wish you a very happy Christmas and Best Wishes for 2017!

This year we’ve been travelling far and wide…

2016 was the year that Red Note truly got out and about. First of all we visited India to develop a new project for future years, and then we had three different international tours in the Autumn: to Canberra and Bermagui in Australia for two weeks of workshops and performances in September with the Griffyn Ensemble; to Belgium and Holland with Freedom O(r) Speech in October and November with I Solisti and Song Circus; and to France with KEIN.

Oh, and we went to England. Twice!

powerful, provocative and confident”   David Kettle, The Scotsman  ★★★★★

Freedom o(r ) Speech, in partnership with I Solisti del Vento from Belgium and Norway’s Song Circus, performing in Aberdeen, Ghent, Antwerp, Bruges and ‘s-Hertogenbosch in the Netherlands.

… and we criss-crossed Scotland

This year we’ve brought Red Note’s stuff, in various forms, to quite a number of different areas of Scotland. In total, we’ve worked out that this year we’ve performed in:

The Western Isles | Aberdeenshire | Fife | the Highlands | East Lothian | East Renfrewshire | Glasgow City | Edinburgh City | Aberdeen City | Perthshire and Dumfries and Galloway

Working with Red Note requires a strong pair of shoes!

We performed the work of many composers …

Almost too many composers to name! However, here is an incomplete list in no particular order (with many apologies to anyone who has been missed out):

Bela Bartok | Louis Andriessen | Mauricio Kagel | Gareth Williams | Sally Beamish | George Crumb | John de Simone | John Mayer | Witold Lutoslawski | Edgar Varese | Fraser Fifield | François Sarhan | Jackie Shave | David Wilde | Arvo Part | Paul Stanhope | Kara Taylor | Lewis McLaughlin | David Sawer | Virginie Lesaffre | Kyle Berry | Armando Lobo | Misha Doumnov | Aggelos Mastrantonis | Arvin Papelli | Kuljit Bhamra | Paul Cowell | John Gourlay | Afrodita Kathmeridou | Derek Ball | J Simon van der Walt | Hilario Flores Conti | Vroni Holzmann | Simon Opit | Cheryl Loke | Bill Thompson | Conner McCain | George Handel | Matthew Whiteside | Robert Irvine | Olivier Messiaen | John Cage | Jonathan Harvey |Karlheinz Essl | Peter Longworth | Timothy Cooper | Denis Smalley | Henry McPherson | Martin Keary | Shona Mackay | Gregor Forbes | Taner Kemirtlek | Luciano Berio | …

“a most brilliantly moving of elegies” Neil Cooper. The Herald  ★★★★★

The 306: Dawn. World Premiere. National Theatre of Scotland, 1418 NOW and Perth Theatre
co-production, in association with Red Note Ensemble.  (Image: Manuel Harlan)

In all sorts of different partnerships …

Oh my word yes. This year we worked with:

Film-makers: With Eggbox for their absolutely brilliant film to accompany Louis Andriessen’s Workers Union in the Concorde Hangar at the Lammermuir Festival in September.
Dancers: With the hugely talented company for the Dalcroze-inspired Sally Beamish commission Ringtime
Actors: And not one but two national treasures – Simon Callow for Freedom O(r) Speech in Aberdeen, and Crawford Logan for The Sins in the Cheltenham Festival.
Theatre Companies: One company really, but it’s a big one: the National Theatre of Scotland for the staggering site-specific The 306:Dawn
Schools: This was the year that our Schools composing project New Music Makers also got out-and-about, working with students and teachers from Kirkland High School in Leven, and Woodfarm, Lochend and Barrhead High Schools in Glasgow. That’s in addition to all of the schools we worked in as part of The 306: Dawn education projects, Go Compose! taster sessions in Aberdeen, and Knox High School in Haddington.
International Music Conservatoires: Not only our long-standing partnership with the Royal Conservatoire of Scotland in Glasgow, working with their emerging professional conductors, performers and composers, but also this year we partnered with the Paris Conservatoire and the Helsinki Sibelius Academy for our first international Red Note Advanced Academy, bringing students from across Europe to work with us at the Lammermuir Festival. That’s also not to forget our partnerships with Edinburgh and Glasgow Universities too.
Start-up Entrepreneurs: Yes indeed. We were delighted to perform and present our work at the Scottish EDGE awards this December.
Other Ensembles: in other countries, primarily – I Solisti del Vento from Belgium, SongCircus from Norway, and Griffyn from Australia.

And many apologies to everything and everyone we have accidentally left out!

… in all sorts of venues

We go where audiences go. This year we played in:

Pubs | Aircraft Hangars | Very Large Sheds on Farms | School Halls | Conference Centres | Art Galleries | Churches | Theatres | Science Museums

That said, we do also play in concert halls! Just not all the time.

And many many thanks to our Festival partners – in particular, sound in Aberdeenshire, who reached their 10th anniversary this year! – but also the Lammermuir, Huddersfield, Cottier Chamber Project, Loch Shiel, November Music, Four Winds, Musiques Démesurées and Cheltenham Festivals, all of whom hosted us this year.

“A magnificent achievement in a dazzling venue”      The Scotsman ★★★★★

Music & Film at Concorde, Lammermuir Festival.

Here’s a list of most of what we did this year:

NOISY NIGHTS – Summerhall, Edinburgh, The Byre, St Andrews, Cottiers Chamber Project, Glasgow and Australia!  |  RED to REID – Assembly Roxy, Edinburgh  |  VIVE LE DIFFÉRENCE, March, RCS Glasgow  |  REELS TO RAGAS 3, March & April, Ardfern, Aberfeldy, Ullapool, Isle of Harris, Sleat, Isle of Skye, Glenfinnan  |  THE NIGHT WITH…. April, Glasgow  |  PLUG FESTIVAL – OPENING CONCERT, May, Glasgow  |  THE 306: DAWN, throughout May, Perthshire  |  THE COTTIER CHAMBER PROJECT, June, Glasgow  |  THE SINS BY SALLY BEAMISH, July, Cheltenham Music Festival  |  NEW MUSIC MAKERS, Fife – February and Glasgow, September – November  |  LAMMERMUIR FESTIVAL PROJECT with Knox Academy, Haddington, September  |  MUSIC AND FILM at the Concorde Hangar, Lammermuir Festival  |  FOUR WINDS FESTIVAL, CANBERRA with the Griffyn Ensemble, October  |  GO COMPOSE! Workshops and Concert, sound Festival, Aberdeen, October  |  FREEDOM O(R ) SPEECH, October & November, World Premiere at Sound Festival Aberdeen, European Premiere at deSingel Antwerp, Bruges, Ghent and November Music Festival  |  OAKLAND PRIMARY SCHOOL PROJECT, Glasgow, September – November  |  KEIN BY FRANCIS SARHAN, November, World Premiere at 18ÈME Festival Musiques Démesurées, UK Premiere at Huddersfield Contemporary Music Festival  |  RING TIME and  RING TIME WORKSHOPS, Dumfries Edinburgh and Banchory, and Drygate Brewery, Glasgow  |  LEVERHULME CONDUCTING FELLOWS WORKSHOPS, Royal Conservatoire of Scotland, Glasgow, January and December  |  SCOTTISH EDGE AWARDS, RBS Gogarburn, December

And we also released our 3rd CD with DELPHIAN RECORDS!

On November 18th we released The Cellist of Sarajevo: chamber music by David Wilde on Delphian Records (DCD34179). David Wilde is the veteran of nine Delphian piano recordings, documenting his remarkable Indian summer as a performer. For this project we survey the works of Wilde’s ‘Bosnian’ period – when he travelled to besieged Sarajevo to help preserve the city’s cultural life, earning him the friendship of colleagues including the heroic members of the Sarajevo String Quartet.

To purchase please visit Presto Classical



November 22, 2016 in All Opportunities, Composers, featured, Home, News, Opportunity, Other Opportunity, Performers by mwhiteside




The inaugural Scottish Awards for New Music will take place on Wednesday 8 March 2017 at 8.00pm at the Drygate Brewery, Glasgow.  The Awards have been created by New Music Scotland with financial support from Creative Scotland, to celebrate and champion the highest standards and achievements of Scotland’s composers, musicians, sound artists and ensembles. They will highlight and showcase the innovative, experimental and ground-breaking work taking place in Scotland, as well as the depth and breadth of the country’s contemporary music scene.

The Scottish Awards for New Music are welcoming nominations for music being made by Scottish and Scottish-based creators of new music. The nine categories are listed below. Nominations are open from Thursday 24 November until Tuesday 20 December 2016 and can be made by both members of the public and industry professionals.  Nominations can be made via the website where details of eligibility and submission criteria can be found:

The winners of each of the nine categories will be selected by an international panel of composers, musicians and music industry experts and announced at the awards evening in Glasgow on 8 March 2017. Profiles of the shortlisted entries will be available on New Music Scotland’s website in the weeks leading up to the event.

New Music Scotland Chair, composer Oliver Searle said, “We are excited about the launch of these awards in Scotland, in recognition of the range of innovative new work being created, promoted and performed. New Music Scotland recognises the diversity and quality of new music that exists here, providing a further opportunity to raise awareness of the range of musical activity that is essential in making Scotland such a culturally vibrant place to live and work.”

Alan Morrison, Head of Music, Creative Scotland, said, “The Scottish Awards for New Music offer a fantastic opportunity to celebrate work that resonates locally, nationally and internationally. Excellence and experimentation thrive across all of the award categories, proving yet again that Scotland is home to musicians and composers who are truly world-class. Creative Scotland also hopes that these new awards raise the profile of such artists in our society, allowing the public to engage with some of the most thrilling music currently being made here.”



  • electroacoustic/sound art work
  • small scale new work (1-10 performers)
  • large scale new work (11+ performers)
  • recorded new work
  • innovation
  • collaboration
  • community/education project
  • achievement in new music
  • new music performer(s) of the year


  • Jessica Cottis (conductor)
  • Brian Irvine (composer)
  • Dr. Evonne Ferguson (Director of the Contemporary Music Centre Ireland)
  • Rose Dodd (composer)
  • Tom Poulson (musician)
  • Susanne Eastburn (Chief Executive, Sound and Music)
  • Kate Molleson (music writer)
  • Emmanuel Cocher (Director of the Institut français d’Ecosse)

Jan Tait and the Bear – Emily Doolittle

September 28, 2016 in All Opportunities, Ensemble Thing, featured, guest blog by mwhiteside

Jan Tait and the Bear is a new, 50-minute chamber opera based on a 15th century folktale from Fetlar, one of the North Isles of Shetland. At that time, Shetland belonged to Norway, and Shetlanders were required to pay tax to the Norwegian king in the form of barley, sheep, and butter. Jan Tait is accused of cheating on his butter payment, argues with and kills the tax officer, and is taken to Norway to be sentenced to death by the king. After performing an act of humorously grotesque bravery, Tait is granted a last minute reprieve if he can rid Norway of a ferocious brown bear that has been wreaking havoc in the mountain villages. I won’t give away the ending here, but will say that butter features prominently throughout this tale!

Jan Tait and the Bear has its origins in 2010, when I went to Shetland for the first time. I was there looking for killer whales with some biologist friends, and also doing some of my own musical research. While there I met pianist and illustrator Meilo So, who lives on the isle of Yell and organizes the amateur chamber ensemble ffancytunes (the northernmost ensemble in the UK!) She asked if I would write a piece for them, and we decided a chamber opera about Jan Tait would be perfect for the circumstances. I was fascinated by the story’s ancient origins and timeless appeal, its rough, earthy humour, its blending of truth and fiction, and the way it can be interpreted on multiple levels. I adapted long-time Shetland resident Peter Guy’s theatrical version of the same story for the narrated portion of the libretto, and though I had never previously written song lyrics, soon discovered that I loved doing so. I made several research trips to Shetland, and asked numerous questions of the director of the Shetland Museum, Ian Tait (possibly a relation?), to make sure I had the details of life in medieval Shetland right. ffancytunes workshopped sections of the opera as I completed it, and gave an in-progress concert performance of Jan Tait and the Bear at the Sellafirth Community Centre in Yell in July, 2015: this was an enormous help in figuring out how I wanted to finish the piece, and how it might eventually be staged. Due to the transitory membership of ffancytunes, we decided that the staged version would be best performed by a professional ensemble, and I was so thrilled when Ensemble Thing agreed to give Jan Tait’s public premiere, with Alan McHugh (narrator), Catherine Backhouse (mezzo-soprano), and Brian McBride (baritone), directed by Stasi Schaeffer. Come to the CCA on Oct. 6 (8PM) or Oct. 8 (1PM) to follow the adventures of Jan Tait and the Bear!


The development of Jan Tait and the Bear received funding from OPERA America’s Opera Grants for Female Composers program, supported by the Virginia B. Toulmin Foundation, the Canada Council for the Arts, and the Hinrichsen Foundation. My heartfelt gratitude to these organizations for believing in this project and making it possible!



NMS Day 2016 – Nicola Henderson

September 14, 2016 in All Opportunities, featured, guest blog, Nicola Henderson by mwhiteside

nms_logo_blackOn 2nd September this year, we held our third networking and discussion a day. We aim to hold at least one of these a year, where the membership and the wider sector can come together to discuss the most pressing issues and help shape the way we can tackle them together.

The day had three main segments: The AGM, a panel discussion on ‘Working in Europe – post Brexit’ and a discussion around ‘Making a living in New Music’. Here is a brief summary of what was discussed on the day – we are inviting a couple of panellists to send some more in-depth insights to share with you and they will appear on the blog shortly so I will keep this overview relatively short.

We started the day with the AGM. As a cooperative, the membership shapes the activities and actions we undertake. A lot of the business of the day was gone through – sharing the accounts, procedures of the board meeting, updating on plans for this year etc. We then had an in-depth discussion regarding future activity. A lot of ideas were shared:

Ideas for our next Conference (or could be for a future NMS Day):

  • Barriers to access
  • Educational background barriers – how to build a portfolio of work to become an “emerging” composer.
  • How to present new music to make it more accessible.

We invited anyone with case studies on projects that represent best practice to share those with us.

Peer-to-Peer Residency weekend

  • Discussion over stratification – are the peer-to-peer crv6eg6uaaic0hlweekends too “stratified”? But they are “peer-to-peer” and overall the group felt there was value in the safe sharing between individuals of a similar level. Perhaps an opportunity to develop residency’s across levels, separate from the “Peer to Peer” model.
  • It was felt that opportunities should be widened – possibly to young promoters and/or young composers/promoters (or even performers/composers/promoters?).
  • Women composers or people coming back into composing after a break.

These were all topics discussed and the list is not exhaustive, so please feel free to add to this! Send ideas to

We also discussed NMS lobbying for more support for composers to reduce marginalisation.

The first panel discussion was ‘Working in Europe post Brexit’. The discussion was chaired by Laura Metcalfe from the BBC and panellists were Susanna Eastburn from sound and music, Norah Campbell from the British Council and Geoffrey Brown from Euclid. This was a lengthy and passionate discussion on where we are and trying to explore the issues most important to the sector and how we best prepare for what may happen – it was agreed it was very difficult to do this at this stage, given the many different scenarios on the table, but if we agree on certain issues we can start lobbying and being ready for what may happen. Key points covered were:

  • Look to make alliances across sectors on shared issues such as VISA’s and free travel – shouting together will help influence government decisions.
  • Current view of Britain in rest of Europe is negative and already impacting partnerships and people working here – we need to shout ‘WELCOME’ as loudly and as often as possible
  • Key organisations work together to lobby government on needs of sector – sound and music, NMS, SMC.

You can watch the facebook LIVE video to hear more:


The second panel discussion was around ‘Making a Living in New Music’. The discussion was chaired by composer Oliver Searle and panellists were composer Aidan O’Rourke, Susanna Eastburn, Alan Morrison from Creative Scotland and Kyle Brenders from the Canadian New Music Network. The conversation was fairly broad, but did focus around support for composers to experiment and create new music – an activity that in itself does not generate much of an income. So how can we lobby to ensure composers are supported? Key points covered were:

  • Discussion around need for support for composers – the more high risk the work, the less the money to be made. Support around experimentation and the chance for composers to make mistakes at low levels.
  • Revolved a lot around funding. As funds get even tighter, how do we raise value public put in the arts? How do we stretch what is there? How do we lobby for more? How do we lobby to get music back in schools to nurture long term relationships with the genre?
  • How do we show something to be a success as a project? How do we measure this and is there a more effective way to make funders aware of the activity that we as artists have found to be successful experiences for us?

You can watch the facebook LIVE video here:


We hope to bring you some blogs which explore these issues in the near future, so keep your eyes peeled. And remember, you can get in touch with ideas and thoughts anytime. You shape what we do!

Echoes and Traces – Ailie Robertson

August 27, 2016 in All Opportunities, featured, guest blog by mwhiteside

ailie robertsonEchoes and Traces is a project that began almost 2 years ago, when I began my production/curation company, Lorimer Productions. It’s key aim is to increase the profile and visibility of new music in Scotland through commissioning, collaborating and forming partnerships with other organisations.  I was finding it increasingly frustrating that new music in Scotland was so often either totally ignored, or jammed into classical programmes almost as a token gesture, so wanted to curate a range of events where new music was the focus of the whole programme, and both composers and performers were well supported. Scotland seems to be lagging behind other parts of the UK in its engagement with contemporary music, so it is hugely important to me to help highlight the wealth of composition talent that Scotland boasts and encourage the public to take an interest in the new music of their country. Through curating these New Music events we also aim to support and provide opportunities for  both established and emerging composers, from a variety of genres.

My personal key interest as a composer has always been in finding ways to connect the past and the present to create something new. Having grown up playing traditional music, the stories, songs and poems of Scotland hold great resonance for me, and I am continually using these influences in my work. Several years ago, whilst researching ancient Scottish music for another project I came across a fragment of Scottish plainsong chant, and was immediately drawn to the idea of using this archive material in a contemporary music context. The fragment was Nobilis Humilis, written in honour of Orkney’s Viking saint, Magnus, thought to have been martyred in Orkney in 1117; The song is found in a 13th-century manuscript at Uppsala University, making the song at least eight centuries old, and is the oldest known example of Scottish song to feature harmonies.

A project inspired by the Nobilis Humilis fragment began to emerge in my mind, and I spent almost a year putting together the project plans, applying for funding to support the project, and developing partnerships with Historic Scotland, Creative Scotland and Sound & Music. We raised enough funds to be able to commission eight composers to write a new work for Cappella Nova, and the choice of composers draws upon those working within the contemporary classical, folk, electronica and world-music genres, so as to represent the wealth and breadth of compositional talent currently in Scotland.

Echoes and Traces will feature choral responses to the ancient Orcadian piece written by such established figures as Sally Beamish, Stuart MacCrae and Rory Boyle, as well as electroacoustic composer Matthew Whiteside, composer-performer Hanna Tuulikki, fiddler Aidan O’Rourke, of the folk power trio Lau (who has also worked with string quartets), and two composer-harpists, Savourna Stevenson and Ailie Robertson. capella nova

What’s exciting for me is seeing different ways the various composers have reacted to it; some have directly referenced the melody and transformed it, others have taken the text and given it a different melody, some have simply used the idea of St Magnus as a starting point for other lyrics or musical ideas. We’re also delighted to have musicologist and broadcaster John Purser with us for the concerts, which will help the audience understand the context of the piece in history.

We’re incredibly excited to have world-renowned choral group Cappella Nova as our performance partner for the project. They are hugely committed to supporting Scottish contemporary composers and we are delighted to have them performing the new works. The support of Historic Scotland has also allowed us to tour the work to some of Scotland’s most stunning venues across the country.

As the concerts approach, the planning now begins in full force. I am so excited to see the composers’ scores arriving, and to work closely with my amazing production team to bring this project to reality.

We are so privileged to live in a country with an enormous wealth of music, both past and present. I am thrilled to be able to bring eight of Scotland’s brightest and best composers to the fore with this project, and to bring innovative new choral music to the length and breadth of the country.

Echoes and Traces has partnered with New Music Scotland to offer anyond attending the New Music Scotland day on the 2nd September ‘Pay What You Want’ tickets.

Wed 31 Aug, Dunfermline Abbey (Nave) – 19:30

Thu 1 Sep, Stirling Castle –20:00

Fri 2 Sep, Glasgow Cathedral – 19:30

Sun 4 Sep, Duff House –13:00

Mon 5 Sep, St Magnus Cathedral – 19:30

Wed 7 Sep, Iona Abbey – 15:00

Thurs 8 Sep, Greyfriar’s Kirk, Edinburgh – 19:30

Tickets £10-£15, with a 10% discount for Historic Scotland members, available from: (31 Aug, 1-4 Sep, 7 Sep) (8 Sep)

Tickets for 7 Sep are available to buy in advance in Kirkwall, Orkney, from The Reel, William Shearer’s, and The Orcadian Bookshop.

Tickets are also available to buy on the door at every concert.


New Music Scotland- Networking and Discussion Day 2nd September 2016

July 11, 2016 in All Opportunities, Conference, featured, News, Opportunity by mwhiteside

New Music Scotland

Networking and Discussion Day
2nd September 2016
Royal Conservatoire of Scotland, Glasgow 10.30am – 4pm

You are invited to join us for our third networking and discussion day. A day where we all come together to celebrate the successes of the last 12 months, to discuss the challenges that we face and to plan how to overcome these and shape new opportunities.

Our main discussion of the day will be ‘Working in Europe post-Brexit – what are the implications for funding and free movement of artists and how should we best prepare?’ The panel will include Geoffrey Brown from Euclid, Susanna Eastburn from Sound and Music, Norah Campbell from the British Council and Janet Archer from Creative Scotland.

In the afternoon Kyle Brenders from the Canadian New Music Network (skypeing in now following funding challenges) will join Alan Morrison from Creative Scotland, Susanna Eastburn from Sound and Music and Aidan O’Rourke to discuss ‘Making a Living from New Music’. The session will be chaired by Oliver Searle.

The day will include networking sessions, the NMS AGM (at which you are invited to contribute to planning the future direction of the organisation) and a networking lunch.

After a short break in the evening, you are invited to join us at the Echoes and Traces concert at Glasgow Cathedral featuring new works from Sally Beamish, Aidan O’Rourke, Matthew Whiteside, Allie Robertson and more. Attendees at the NMS Day are offered ‘Pay What You Can’ tickets for the concert. To take advantage of this fantastic offer, please email to reserve your tickets (payable in cash on the door). If you would like to pay the regular price, tickets are available online at £10-£15.

The NMS day itself is free for all to attend, but places must be booked. To reserve your place, book here –
Schedule for the day:

10.30am-11am – Coffee and Tea on arrival

11am – 12pm – AGM – all are welcome at this, but only members can vote. You can become a member on the day!

12pm-1pm – PANEL DISCUSSION: Working in Europe post-Brexit – what are the implications for funding and free movement of artists and how should we best prepare?

1pm-2.30pm – Networking Lunch

2.30pm-4pm – PANEL DISCUSSION: Making a Living from New Music

4pm: ENDS

7.30pm: Echoes and Traces at Glasgow Cathedral

If you have any problems with the eventbrite link or have any questions, please do not hesitate in emailing

We look forward to seeing you there!

Save The Date – 2nd September 2016, Glasgow. NMS day Making a Living in New Music

June 2, 2016 in All Opportunities, featured by mwhiteside

Our next networking and discussion day will be on 2nd September in Glasgow. Our keynote speaker will be Kyle Brenders, president of the Canadian New Music Network. Kyle will be talking about the challenges  facing organisations, composers, creators, promoters and performers of new music in Canada, how they have overcome them, the opportunities that have arisen and how we can make connections across the Atlantic.

There will be a panel discussion about Making a Living in New Music, looking at globalisation, unusual ways of working and the different opportunities out there. Panellists will include Creative Scotland, Sound and Music, Canadian New Music Network and a leading Scottish composer/creator. The day will also include our AGM which will update you on our current plans and give you an opportunity to feedback on these and help shape our future direction.

The day will finish at the Echoes and Traces performance at Glasgow Cathedral and all attendees will have the chance to get a ticket at a much reduced cost.

Distil Showcase Blog by Judith Walsh

April 11, 2016 in All Opportunities, featured, guest blog, Judith Walsh, Opportunity by mwhiteside

This annual musical get-together at Stirling Tolbooth – the Distil ShWP_20160408_013owcase – has a bit of magic about it. As far as new music events go, this one combines an addictive mix of contemporary artistic thought with a relaxed gig night. It draws a regular, committed, audience that includes a lot of industry people – artists and promoters, agencies and sponsors.

Run by Hands Up For Trad, the Distil project is now in its tenth year and, during that time, has helped create over 100 new pieces for mixed chamber ensemble. Ostensibly, it opens its doors to folk-rooted artists looking to develop their writing however, as has been so well-expressed over recent years, artists are now rarely defined by one genre. The concert on Friday night showcased nine new pieces, performed by Mr McFall’s Chamber and guests from the folk circuit. The eclectic ensemble has been the house band for a number of years, and its players (Robert McFall & Jackie Norrie on violins, Mairi Campbell on viola, Su-a Lee on cello, and Rick Standley on double bass) work closely with the composers in the run-up.

mcfalls distilThe composers are all gigging performers, most writing for their own concerts and bands, with some pursuing dedicated composition careers and training. From speaking with the artists, it seems the process of Distil – the atmosphere and resources it provides – is the most valuable part of the experience. Before their workshopping-rehearsal week with Mr McFall’s Chamber and the public showcase concert, they spend time at a residential in the beautiful surrounds of New Lanark. This time out is focused on thinking outside the usual creative parametres, by spending time with visiting high profile composers and creators in the fields of contemporary composition, world music, and improvisation.

From an audience perspective, the energy and experimentation of the featured artists is what dominates the Showcase. The pieces themselves may or may not have a longer life but the process shines through. That, coupled with the obvious enjoyment of the house band in presenting the new works, creates a great night of live music premieres.

Lauchlan’s Waltz Stuart Macpherson
Haven Ailie Robertson
The Road to Dalginross Karen Marshalsay
Seeking the Ice, Questing for the Sun Catriona Price
Hebridean Collective Mhairi Mackinnon
Still Joy / The Night of the Bright Mystery Fiona Rutherford
Distilled Alana MacInnes
Pingvellir:Thingvellir Tom Oakes
The Merry Lads of Ayr Simon Thoumire

Judith Walsh is on the board of New Music Scotland, General Manager of Mr McFall’s Chamber and Ludus Baroque, Project Manager of Live Music Now Scotland, and supporter of independent artists and arts projects.

Opportunity for Promoters and Programmers!

January 13, 2016 in All Opportunities, featured, Other Opportunity by mwhiteside

What? Time Out – A 2-day mini-residency and professional development opportunity for Promoters and Programmers
When? 18-20 March 2015
Where? Pitcairlie House, Newburgh, Fife

Programmers and promoters (including producers or performers who promote their own ensemble),  often find themselves focusing on the organisational aspects of their roles, caught up in a never-ending list of deadlines, unanswered emails, evaluations and budgetary concerns. The aim of this residency is to give programmers and promoters the opportunity to share their experiences, enrich their practice and explore in depth issues, concerns, possibilities and opportunities in a safe non-judgmental environment.

The weekend will be facilitated by Susanna Eastburn of Sound and Music.

The application form gives full details on the residency weekend and how you can apply to take part here: Application Form

Closing date – 5 February 2015
For more information contact Nicola Henderson –

Social Media Survey

January 4, 2016 in All Opportunities, featured by mwhiteside

We would like to know more about how you interact with what we do. To do this please fill in the below survey.


Create your own user feedback survey

Young musician inspired by Jimmy Reid wins this year’s John Byrne Award

December 8, 2015 in All Opportunities, featured, guest blog by mwhiteside

IMG_2651Ruairidh Macleod’s improvised violin response to trade unionist’s famous ‘Alienation’ address hits the right note.

Ruairidh Macleod,a sixth year student at St Mary’s Music School in Edinburgh, has won the prestigious 2015 John Byrne Award for his musical improvisation, De Profundis.

Now in its sixth year, The John Byrne Award challenges 16-19 year olds in Edinburgh to confront, develop and express their values in response to a given stimulus by producing a creative piece of work in any medium – a painting, a dance or even an HTML code. Work is carried out independently of teachers or parents.

The awards, sponsored by Cairn Energy and University of Edinburgh, were presented by the artist and playwright John Byrne at a ceremony at The Playfair Library in Edinburgh on Thursday 12 November at 19:00hrs. Educational consultant David Cameron hosted the awards evening, with John Byrne and Hamish Matheson, Chairman of the judging panel and senior geologist at Cairn.

The 2015 Awards stimulus for entries was Scottish trade unionist Jimmy Reid’s famous ‘Alienation’ Rectorial address, given to students at the University of Glasgow in 1972. Reid delivered his speech on his inauguration as rector of Glasgow University in 1972. The following day, ‘Alienation’ was printed verbatim in the New York Times and described as “the greatest speech since President Lincoln’s Gettysburg address”.

This year’s winning entry was 17 year old Ruairidh Macleod’s improvisation on his violin, De Profundis. Ruairidh receives the £1000 award to spend on his personal development. Three shortlisted individuals/teams each also win a commendation prize of £500.

The three shortlisted John Byrne Award entrants who were commended this year are:


  • Bella Baillie: commended for her ‘passion, wisdom and intelligence’ for the painting entitled ‘The Malcontent’, portraying nude figures in an abstract landscape and symbolising a discontent from a common humanity.
  • Susie Bradley: commended for her ‘insightful interpretation of a complex contemporary issue’ for a piece of creative writing entitled ‘Identity’. Identity describes a fictional character, Ola Zeinah, from Syria. Her identity is portrayed through the eyes of a variety of strangers, her mother and herself. The piece explores identity, belonging, power, responsibility and equality.
  • Steven Dale: commended for his ‘portrayal of a marginalised group in society” for a painting entitled ‘The Hysteria of Youth’, portraying a male youth sitting alone with a computer in a room, and making a statement about the amount of time that adolescents spend socialising online.


Each commendation winner receives £500 for their personal development.

Each entrant had to submit a detailed report explaining how they responded to the stimulus and researched the issues. A shortlist then presented their work to the judges . This year’s judges were:

  • Hamish Mathieson, Senior Geologist at Cairn Energy
  • Florence Ingleby, Director at Ingleby Gallery
  • Stuart Ferguson, Director, Aker Solutions ASA
  • Emma Currie, Director, Acting Up
  • Maidie Cahill, Director of Corporate Services Scottish Qualifications Authority
  • Andrew MacDonald, The 2014 John Byrne Award winner.


John Byrne Award winner, Ruairidh Macleod, said: john byrn award

“The preoccupation with my piece was to create a work that profoundly showed the effects of our unfeeling, bureaucratic society upon individuals, and how this creates isolation, desperation and alienation. To truly convey my feelings, I felt the best approach was to create a piece as spontaneously as possible, so did this by recording an improvisation.

“For this piece, a storyline evolved: it opens very simplistically in order to create a sense of nostalgia for a sense of community and unstressed rural-ness that is lost in the sleepless cities of today. This soon develops into the sounds of industry, as the individual begins to seek work, but still with a sense of community.

“I was inspired for this by Jimmy Reid’s background in the Glasgow shipbuilding, and so imagined it on a shipbuilding site with sounds of hammering. Computer keyboards also reflect work, but introduce a more mechanical, unfeeling element. With the ‘persecution’ of these workers by commercial interests and government, the music becomes filled with a sense of terror and uncompromising power, which introduces the feelings of alienation. These cause the character to become more desperate, while the music reflects a sense of mounting insanity until the character decides to shoot himself; he is so unhappy with his isolated and desperate life.

“Having suffered from depression, I felt particularly moved by the words of the speech in describing the isolation, and so drawn to reflect this as much as possible in my creation. However the key values of hope and kindness are the most important, and hope returns in a final requiem for the individual ending on a major chord, that mourns his death, but also reminds that the last, most important value is that in the end there is always hope.”


John Byrne, said: “The John Byrne Award is a competition for the times. Its important that our young folk engage with their values in a creative way. Ruairidh’s improvisation on the violin is a great example of this. Well done Ruairidh!”


Simon Thomson, Chief Executive of Cairn Energy PLC said:

“We are delighted to continue our support of The John Byrne Award, an award which inspires Edinburgh’s young people to develop their own values and to strive for positive change in society expressed through a creative medium.”

New Music Scotland In Cahoots

November 11, 2015 in All Opportunities, Conference, featured, guest blog by newmusicscotland

Beginning with a weekend in collaboration with New Music Scotland, In Cahoots, which explored the potential for collaboration between ‘new music’ and other art forms. From a mini-opera – also part of the A Play, A Pie and A Pint programme – through to gallery-based audio-visual installations, sound and New Music Scotland presented a dense two days that was supported by workshops and lectures.

Theatre and New Music – Bill Banks-Jones

October 22, 2015 in All Opportunities, Conference, featured, guest blog by mwhiteside

BBJ-web-portrait-by-Hugo-GlendinningFrom pretty much the beginning, one of the most substantial strands in all my work with Tête à Tête has been the introduction composers and makers of new music and opera to the theatre.

After spending much of my geeky teens making and absorbing lots of arcane contemporary music, I was sucked into the theatre and spend my first few years after university [Philosophy at St Andrews] making shows and leading workshops all over Scotland while running the Scottish National Association of Youth Theatre. After being drawn down south by the National Theatre and then ITV Regional Theatre Young Directors’ Scheme, I was headhunted by English National Opera towards the end of its glory Powerhouse days in the early nineties as a staff director. I guess many strands drew together for me when I was assigned as staff director to most of the annual new commissions that were premiered during my time there.

And I guess it was what I witnessed then that drove Tête à Tête’s first forays into new opera. Pretty much the only new operas being made then (in the early 90s) were these colossal commissions made by ENO. Pieces often 15 years in the making, composers were chosen only for their credentials in the concert hall, symphonic and proms triumphs, intellectual prowess and irrespective of their level of experience in the theatre.

Week 2 Round-up from Tête à Tête on Vimeo.

This caused some absolutely dumbfounding situations, where these great auteurs were making what to me, with my professional training and experience in theatre, were clod-hopping mistakes.

I remember vividly a show-down I had with David Pountney when he was directing a prime example of this. The very lovely eminent composer/librettist (always a mistake to combine those jobs) had created a situation where Richard Van Allan, a great friend and wonderfully recalcitrant artist, was required to sing:

“…long ago he told my grandmother once that time was just an impression of change in the changeless, of time in the timeless…”

Despite my lowly status, with my long background in theatre and new writing, I knew full well that this was absolute garbage and that there was no way we should be forcing Richard into a situation where he had to perform this in front of thousands, and so I insisted that DP went to the said eminent auteur and told him this line was to be cut. Which did indeed happen.

But anyway, with my probably disproportionate sense of justice, I felt very strongly that this and so many other terrible wrongs could be easily corrected if these great composers had at least some experience in, if not training in, the art of theatre before they started making opera.

And that’s it really. Very early on, after making a joyously triumphant small-scale Fledermaus, I steered Tête à Tête towards making new works which drew operatic music-makers into theatrical environments at an early stage, and/or in places where risk could be embraced, stumbles excused and genuine gambles could pay off. This grew from the commissions of the first decade to the hosting of the festival I now run alongside this producing, where dozens of other artists and companies come together to pursue the same dreams.

My Mother My Daughter – outdoors from Tête à Tête on Vimeo.

Taking stock, it’s hard to believe quite how successful the enterprise has been. When once short and small-scale new operas didn’t exist, now they are commonplace. We are just finding out, not only in the UK but all over the world.

And not only that, but while “traditional” opera, ie endless regurtitations of a small and antique repertoire is in a state of panic about its audience being on the brink of death, all over the world young and funky people are flocking to make and enjoy young and funky new opera. It’s AMAZING.

This is the story I would like to trace in further detail in my In Cahoots! Session on Saturday, also allowing the lot of us to share our own stories and experiences, so we can together arrive at a deeper understanding both of what is going on in new opera, and what we can go on to do.

Bill Bankes-Jones 22nd October 2015

Part of the In Cahoots New Music Scotland Conference:








Spoken Mirror

October 13, 2015 in featured, guest blog by newmusicscotland

mcfarSpoken Mirror – is the project that Allon Beauvoisin and I created to channel some of our energies into a more free flowing and open musical environment where we contrast acoustic and electronic sounds and textures. In part the idea was to take us away from some of the more traditional places that you might have heard us in before like Allon’s ‘Brass Jaw’ or my ‘Scottish Guitar Quartet’. Our fascination with the implications of how current digital technology could be used to create a new sonic context is a big part of us coming together. Despite the fact that Allon plays an acoustic instrument, the baritone saxophone, he is a real driving force in always looking to the next step in the use of electronics so there’s much more to come too!

We began with some individually composed pieces, ran through them and then looked at how we could then incorporate some of the latest apps that we’d found for our iPads – this produced some good results and we did a couple of gigs to gauge how well this translated to a live situation. As usual this prompted more questions, some rethinking and, of course, many more conversations of what we were ‘about’ and were trying to achieve and how we might do it!

Then, thankfully, we had a bit of a breakthrough moment when I showed Allon some of the work by a great friend of mine, the artist George Birrell.  Not too surprisingly Allon was knocked out by what he saw and dropped an interesting bit of info from his past, that he’d done quite a lot of visual work prior to deciding to focus more on music! So with that in mind we came up with the idea of using George’s paintings in some way to create a film for us to then compose a ‘spontaneous’ soundtrack to. After more meetings (this time with George too who was super excited about the whole thing) then a good chunk of time for Allon (he’s a very busy man!) to come up with some visuals based on deconstructing and re-inventing the paintings in some short ‘movies’. These were later connected into a sequence for the whole work.GB lo res

When Allon came back with his ideas both George and myself were blown away with what we saw. He’d managed to create short films (each based on an individual painting) that variously contained: movement, abstractions, emotions, different atmospheres, even some mystery and an occasional narrative here and there but all had a really great vibe to them. These were perfect as a new way of looking at George’s paintings and ideal, and ‘open’ enough, for sparking lots of different soundtrack moods that we could create on the spot. We recorded some demos and we were considerably encouraged that this was a project that would continue to bear fruit.

Next we had to try this out live and figure out the technical side of showing the finished film to an audience whilst also having monitors so that we could do our ‘thing’ too (our improvisations are reactions to the film so we need to see it in real time). Allon’s tenacity and technical skill triumphed (although each live venue, with different kit, made for some stressful pre-gig moments!). We’d decided initially to work with a couple of preconceived musical ideas so that we had a ‘fall back’ position just in case inspiration didn’t descend upon us but after the first gig was under our belt we reverted to a much more free approach with the absolute minimum of any kind of ‘script’ to follow – this resulted in gig 2 being, for both us, some of the most enjoyable music making in years with our 35 minute film sequence feeling like about 5 minutes. Thankfully the audiences had a good time too with the overall experience being a very chilled one! Some of one demo recordings are on our Facebook page.

So, where are we at now? Well, for this particular Festival we’ll be without the film (due to time restrictions) but we’ll give the musical flavour of what we do by doing improvising with some of the themes, concepts and musical ideas that were used for the project.

Oh yes, just in case you’re wondering about our name. We spent a long time discussing this too needless to say. We tried to find a name that didn’t have any particular connotation genre-wise so that we could go wherever we wanted to, that didn’t really relate to other contexts that you might find us in and one that, hopefully, nobody else has used.

Malcolm MacFarlane – Edinburgh 12/10/15

Spoken Mirror is part of the New Music Scotland In Cahoots Conference and Showcase at 4pm, 24th October. More information on the full programme available here:

New Music Scotland Conference 2015

September 2, 2015 in All Opportunities, Composers, Conference, featured, News, Opportunity, Other Opportunity, Performers by newmusicscotland

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New Music Scotland Conference and Showcase 23rd and 24th October 2015. For more info and how to book go here:

Nicola Henderson Joins NMS as Network Coordinator

August 8, 2015 in featured, guest blog by newmusicscotland

Nicola HendersonWhere do you start a blog to introduce yourself? I guess with a hello! I am Nicola and I’ve just started working for New Music Scotland as Network Coordinator. That sounds a bit like I’ve just joined a group therapy session, but sometimes looking back over your career so far, as you open up to an invisible audience, is a bit like that.

I have been working in Scotland’s arts sector for around 13 years and before that I completed my degree in music from Glasgow University. I spent four years working for The Arches in Glasgow where I was given incredible opportunities to learn about all aspects of working in the arts – programming, marketing, HR, administration, management, funding, commissioning, I could go on, but you get the picture.

It was an amazing introduction to the world of supporting artists and bringing art to people. As someone who only knew how to perform and tinkle with composition in the safety of my own bedroom (and who quickly realised that it was best those sounds stayed there!), but who had a passion for viewing and hearing art in all its different forms, it was an essential nurturing experience that helped grow my passion for ensuring everyone (no matter where they live or how they live) had access to high quality arts experiences.

As my interest in this area grew, I took a leap and moved to Skye to work with An Tuireann on their audience development programme. A visual arts organisation rooted in the community, but with an international outlook. I had a wonderful time there. Bringing challenging contemporary art to a remote island location has its challenges and I relished the opportunity to overcome those barriers and create new ways to encourage the community and visitors to engage with the programme and become part of the organisation. As part of my role there, I set up and ran a contemporary music programme and the Skye Jazz Festival. Thus gaining experience in all the various organisational skills required to put on such events including supporting the artists involved and generating audiences for the work.

I took an even bigger leap after my time there to move to Helmsdale in Sutherland and become director of Timespan Museum and Arts Centre. A place where heritage and contemporary art were just beginning to come together. Together the staff, board and volunteers worked to maintain and enhance the way the local story was told through the museum and archive and to bring opportunities for artists to reinterpret these stories and help create a vision of the future. It was a wonderful time, in a wonderful place. And around all the heritage and visual art, we brought some music in too as no matter where I go I want to bring sound into that place too. I do miss Helmsdale.

I left there to follow my husband’s career – we had ended up living apart as finding jobs for both of us in remote locations had not proved possible. After a year apart, we wanted to be back together and I followed him (after his years of following me around the Highlands) to Aberdeenshire, where I got lucky with a position opening up at Woodend Barn. And this is where my story back into music and specifically new music begins. Woodend Barn is a multi-arts venue in Banchory and home to sound. While there I looked to work with the existing team to consolidate and push further the arts programme that was already in existence. I wanted to see more new work created from a wider pool of artists. We started hosting more residencies, giving artists a safe space to create, experiment, make mistakes and collaborate. We partnered with sound on new work and audience development initiatives such as Framed Against the Sky. So much was achieved in a relatively short time as life was about to change again.

Last year I became a mother for the first time. A huge life changing experience and one that I have completely adored getting to grips with. Magnus is now my main job and so I have changed the way I work. I now manage a few freelance projects inline with being a Mum and Network Coordinator for New Music Scotland was a perfect project to get my teeth into. I look forward to working with the board to help build on the work being done already – supporting the network of new music professionals and helping build platforms across the country and beyond for those professionals’ work to be seen and heard. It is an exciting time ahead!

John De Simone – Independence

July 30, 2015 in Ensemble Thing, featured, guest blog, John De Simone by newmusicscotland

John De Simone IndependenceIn 2014, the year of the independence referendum, I gratefully received funding from the Katherine McGillivray’s Get a Life Fund to enable me to spend time researching and working towards a substantial new work which was to be about my Scottish background and its influence on my music. Here are some thoughts on how and why Independence came to be.

Having been born and raised in south east England to a Scottish mother and Italian father I have always had a sense of not quite belonging to whichever place I lived in. Brought up in Aylesbury, Buckinghamshire, I was always well aware that I was not quite a true Englishman – “John Ravioli Desdemoney” was not a name of these isles.

Being brought up bi-culturally, with parents proud of their countries and traditions, I never felt like I understood what it meant to be English. This was compounded by my experiences as a student composer at the Guildhall in London, where I felt somewhere along the line I had missed out on making the right connections, and didn’t have the right story to fit in with the British classical music meta-narrative.

Eventually (after several years in The Netherlands – my experiences there would make another lengthy blog post) I made the decision to move to Scotland and to re-join my family, who had since moved there after my mother’s retirement. I felt in many ways that I fitted in here- so much about the Scottish or perhaps Glaswegian way of life resonated with me – the inherent egalitarianism, sense of social democracy and liberalism. Also, I had a family history here.

My Scottish family have been deeply involved in the nationalism movement since the 1920’s when my grandfather John MacCormick founded the National Party of Scotland, which he then merged with the Scottish Party in 1934 to create the Scottish National Party. My uncle Ian was an MP in the UK parliament from 1974 and my other uncle Neil was both MEP and Vice – President of the SNP.

Yet despite this, I felt like in my art form, contemporary music – I still did not quite belong. It can seem that classical music in Scotland is often an outpost of London, certainly a lot of decisions about what gets premiered up here gets made down there, or from composers who live and work there. Whether or not this is actually the case, or whether I am being paranoid is perhaps not the point – it was this perception that I wanted to explore and ask whether there is such a thing as a “Scottish Music” that can incorporate what I do.independance 2

With this question in mind and a desire to find out more about my Scottish family and their role in the independence movement- I set off on a period of writing and research that culminated in Independence.

The piece itself is an hour long multi-movement work with me talking in between the movements, providing context and a narrative to the unfolding musical events. I also incorporate speech from my Uncle Iain and a beautiful pipe tune written by my Great-Grandfather Donald MacCormick, “The lads that will return home, no more” which was premiered at the opening of the Glasgow Cenotaph in 1924.

It is performed by the wonderful Ensemble Thing, a group I have proudly been involved with for the last 11 years. They are all incredibly talented performers, who I have had the pleasure to get to know very well over the years and they have an innate understanding of how to play my music, which is such a gift for a composer.

And it was at the premiere of the piece at the 17th September in the old hairdressers on the eve of the referendum that the piece took on its own life and let me understand fully what independence meant for me. With the upsurge of community support and political debate, seeing such an engaged audience and ensemble, the festive spirit in town that night, and feeling I was part of something larger and in my own small way contributing to the debate- I realised that Independence for me was not about where you belong, but how you belong.


Independence is on at Summerhall during the Edinburgh Fringe as part of the Made in Scotland Showcase – supported by Made in Scotland and the Hope Scott Trust. For more information and to book tickets if you’re interested click here

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