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 21st February.


Sally Groves was, until June 2014, Creative Director London with Schott Music.

She has always played an active role in British musical life, serving as a Board member with the Bournemouth Symphony Orchestra, Birmingham Contemporary Music Group, Royal Northern College of Music, of which she is an Honorary Member, and the Music Publishers Association, which awarded her their Gold Medal in 2014.

Sally now chairs the Vaughan Williams Charitable Trust, Opera Ventures and the Music Libraries Trust,  serves on the RVW Trust and the Michael Tippett Musical Foundation, and is a trustee of the Nash Ensemble, Listenpony!, Riot Ensemble, ORA and UPROAR.

Sally was given the Lesley Boosey Award, honouring champions of new music, in April 2013.   In July 2015 she was awarded an MBE for services to music. In 2016 Sally was given the ABO and IAMA Awards.

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.

Snape Residency

September 17, 2019 in All Opportunities, Composers, Performers, residencey and summerschool by mwhiteside

Applications for this round are currently open until Friday 4 October 2019. Please read through our eligibility criteria and scroll down to apply.

Who is the Residency programme for?

The Residency programme is for artists at any stage of their career, who are creatively curious and who have burning ideas, or who need time to re-focus on their practice. It is not meant to simply provide a funded rehearsal period. It is a competitive programme, so we are looking for some really strong ideas.

These ideas should be at gestation stage – we’re less interested in projects that have already had some form of life or development time. We are excited by and want to work with all music genres, including folk, jazz, classical, world, electronics, RnB, and music theatre, and we facilitate inter-disciplinary ideas. We also want to hear from you if you need time for your own development needs.

Our criteria for selecting residencies are:

  • It’s a creative, risky idea that will push you out of your comfort zone. Or, you’ve identified a need for some specific personal development.
  • It has at least some element which is new for you, whether in terms of music, collaborations or processes.
  • It involves musicians and artists whom we would like to experience the place, who will embrace the Snape Maltings ethos of performing, creating, collaborating and sharing, and who are likely to contribute to other aspects of Snape Maltings’s work either during the residency or in the future.

What can you expect from a Residency?

A Residency at Snape Maltings is a hugely valuable experience that provides unrivalled opportunity to focus on your own ideas and development. Residencies last between 3-7 days, depending on your specific needs. We provide an equipped space to work, space to sleep, travel expenses and lunch on site. We can also provide producer support, or work with you to find someone to mentor or facilitate your process, if that is useful for your idea.

Please note that we do not pay fees, but can advise on support available should financial viability be an issue for you and your collaborators.

If you have a low income and feel you genuinely cannot access the Residency programme without additional support, we have a limited budget to provide financial support, including for those who have other access needs, for example care provision. If you do feel you need additional support, please tell us when you submit your application, including a paragraph of background information to help us assess how we can best support you.

We can also help you with funding applications to relevant funders if needed.

Once selected for a Residency, we’ll provide remote and in-person support both before and up to a year after your Residency. After an initial Residency we may be interested in exploring your idea further with you, which could include sign-posting you to other support channels that would make a perfect next step. We’ll also be looking at ways to connect you into other opportunities within the organisation.

What do we expect from you?

We expect you to be open, curious, and willing to engage with our Creative Campus beyond your own idea, which may include taking some time away from your project to meet with other artists also on site. Practically, you will be expected to allow public access to the work that’s being undertaken. This will be in the form of an informal Open Session at the end of your Residency, and additionally some projects may also be invited to participate in an upcoming Aldeburgh Festival or concert series, including the Festival of New.

The Residency programme is open for applications up to four times a year. We’ll announce when each application round is open on our website and via our Twitter account, so please follow us on Twitter.

You can either submit a written application, or if you feel more comfortable, you can submit a recorded audio or video application. Please also provide us with relevant material that supports your application (this may include audio or visual recordings of previous work that demonstrates your practice effectively) and a completed equality and diversity monitoring form. We’ll advertise our availability within the application form – please indicate your preferred or available dates.

We’d also like to ask you to fill out our Equality and Diversity Monitoring Form, which helps us ensure that all opportunities created by Snape Maltings are accessible regardless of personal background. The information you provide will stay confidential, and be stored securely. It will only be used for monitoring purposes and will not be disclosed to any third party except where we are required to provide anonymous, statistical information e.g. to funding bodies and organisations.

Apply here.

PRS Foundation – Beyond Boarders

June 27, 2019 in All Opportunities, Composers, Performers by mwhiteside

Beyond Borders, a collaborative cross-border programme run by PRSF, is currently open for applications.  The scheme supports projects which create, tour and promote innovative and high-quality new music across all genres, and encourage engagement with audiences across England, Scotland, Wales, Northern Ireland and the Republic of Ireland.

Please note that, as Creative Scotland is a funding partner in the Beyond Borders programme, proposals from Scotland-based applicants will need to demonstrate significant additionality to any activity supported by core or project funding from Creative Scotland.


Deadline: 24 July 2019


Full details are available on PRSF’s website:


Open Call – Diaphonique fund

April 10, 2019 in All Opportunities, Composers, Performers by mwhiteside

Diaphonique is a bilateral fund for classical contemporary music, supporting collaborative projects between France and the UK.

Diaphonique is a bilateral fund for classical contemporary music, supporting collaborative projects between France and the UK which include commissions, concerts, tours, residencies and educative projects.

Through Diaphonique we aim to:

• Foster artistic exchanges and deepen the dialogue between musicians and composers from both sides of the Channel
• Promote long-lasting partnerships between French and British musical organisations
• Foster creativity by supporting commissions
• Help upcoming artists and composers in their career development

Your project must show strong partnerships and create links between the two countries by:

• Encouraging an artistic collaboration between artists and/or composers across the two sides of the Channel.
• Involving new or existing works composed by British or French composers. Repertoire from both countries is preferred.
• Performing the project in France or in the UK. Projects taking place in both countries will be prioritised.

Diaphonique does not fund individual projects. Artists and composers cannot apply directly. Hosting organisations make the application, artists and composers cannot apply directly.

How to apply ?
The new call for applications is now open. You can apply until 15 May 2019. All information and the application form are available from the Diaphonique website: 

Location: All Scotland ,England, Wales, Northern Ireland, International

For further information, please contact (Michael Duffy), or call (0)20 7389 4373, or visit

The deadline is Wednesday 15 May 2019 at 17:30.

The Night With… Advertisement for Board Members

April 3, 2019 in All Opportunities, Composers, electroacoustic, Opportunity, Other Opportunity, Performers by mwhiteside

The Night With… is seeking to recruit two new board members with the capacity and skills to oversee the development of the charity. We are particularly interested in hearing from people with legal and/or HR skills, experience of international touring and record labels; and from those with a strong interest in contemporary classical music. The Night With… actively encourages applications from people who identify as female, LGTBQIA+, working-class, people with disabilities and those from Black, Asian and Minority Ethnic backgrounds. We’re also interested in hearing from people who work outside Scotland. We are keen to hear from people with all levels of experience. If you have not acted as a trustee before and would like to find out more about what the role would entail, please contact The Night With…’s Chair Carol Main on Board members are expected to attend four board meetings per year, and to participate in the life of the organisation between board meetings, attending performances, advising staff members and acting as an ambassador for The Night With… The roles are unpaid voluntary positions. Travel expenses can be arranged. Most meetings will take place in Glasgow or Edinburgh.


About The Night With…

Begun in 2016 by composer Matthew Whiteside, The Night With… is a salon style series based in Glasgow presenting interesting contemporary classical music in intimate, informal venues away from traditional concert halls.


Since 2016 there has been 18 concerts with 14 world premières in Glasgow, Edinburgh and Aberdeen with 624 audience members attending in total. Performers have included performers drawn from Scotland and further afield including Red Note Ensemble, Juice Vocal Trio, James Turnbull, Wooden Elephant, Joanna Nicholson, Frances Cooper and Carla Rees. Premièred composers have included Claire McCue, George Stevenson, Diana Salazar, Emily Doolittle, Timothy Cooper, Matthew Whiteside and Samuel Beagles.

2017 was the first The Night With… Call for Scores for self-defined emerging composers with no age limit. The scores were submitted and judged under a pseudonym, to prevent any bias, with five being selected for workshop and one being selected for première in the concerts. In 2017 the call for scores was for the Aurea Quartet (string quartet) and received 61 entries from 9 countries and Juice Vocal Ensemble (female vocal trio) received 42 entries from 15 counties.

In October 2018 The Night With… was founded as a Scottish Incorporated Organisation with a board consisting of Carol Main (chair), Andy Saunders (secretary), Matthew Whiteside (CEO & Artistic Director) and Nicholas Bone. We are in the process of launching the 2019 season.



About the Role

We recognise that different candidates will bring different skills and experience to the board, and would encourage anyone to apply who meets some of the criteria below.


  • General Commitment to supporting the mission and objectives of The Night With…
  • Willingness to act as an ambassador for The Night With…
  • Genuine passion and interest in the work The Night With… undertakes


Skills & Experience

  • Knowledge of charitable governance structures
  • Ability to review and interrogate financial reports
  • Strategic planning skills
  • Risk management skills
  • Passion and knowledge about classical music
  • Experience working within the arts


How to Apply

Please send an short cover letter outlining your interest in the position and a CV to our CEO & Artistic Director, Matthew Whiteside, Please send expressions of interest by 20th May

Find out more about The Night With…


The Night With… Ambassadors

April 3, 2019 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers by mwhiteside

For the last three years The Night With… has been presenting interesting new classical music in pubs, clubs and art galleries. The 2019 season is our biggest yet and we need your help.


The Night With… ( is looking for students to form teams of The Night With… (TNW) Ambassadors in and around Glasgow, Edinburgh, Aberdeen and Belfast to help spread the word about our concerts.

We are interested in hearing from enthusiastic new listeners or old hands at concerts who are open to hearing new music in a relaxed, informal and different way.


What you get:

  • free tickets to concerts
  • reduced price tickets for other under 30s that you bring + a free drink
  • backstage access to rehearsals
  • an insight into how a concert is run
  • meet composers and musicians in person
  • really interesting music
  • good experience and addition to your CV
  • be the first to find out about TNW 2019 season when launched later this year


We would like you to:

  • spread the word about The Night With… 2019 to under 30s through social media / email / word of mouth
  • come to at least two concerts between August and December
  • bring your friends and encourage others to come
  • write short reviews of concerts that we can post on our website / your relevant platforms (optional)
  • take photos at the event and share on your social media
  • we’d also appreciate your feedback on the concerts (what you liked, what you didn’t like etc)


How to apply :

Send us an email telling us a bit about you, and why you’d like to be an Ambassador for The Night With… .

If you’d like any more details, you can email us too.

Email : Matthew Whiteside (Composer/Artistic Director)

There is no deadline, this opportunity is open until we have enough people.

While you are here sign up to our mailing list to get The Night With… news an opportunities direct to your inbox.

Find out more about The Night With…

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:

Bascule Chamber Concerts, 2017

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

Two exciting opportunities to perform at this year’s Bascule Chamber Concerts are now open – the unique and atmospheric subterranean space in Tower Bridge. The Bascule Chambers are where Tower Bridge’s huge counterweights swing down as the bridge above ascends.

Curated by Iain Chambers, the Bascule Chambers Concerts made their debut at Totally Thames festival in September 2015 and returned in 2016 to sell-out crowds. This years concerts are being co-curated by DJs, presenters and writers Rita Ray and Max Reinhardt. The team are looking for musicians and spoken word artists and would particularly like to showcase the work of Black, Asian & Minority Ethnic (BAME) artists. These opportunities are open to all artists regardless of race, gender, religion, sexual orientation, mental or physical disability.


The Bascule Chambers team want to hear your innovative ideas for creating and performing a new 4-6 minute work that responds to this atmospheric underground space inside Tower Bridge. These giant chambers are built into the river itself, beneath the line of the Thames with the underside of the road forming the chambers’ ceiling. Click here to find out more about this remarkable location.

Your piece will be the closing music of all 14 concerts, performed from the floor of the Accumulator Chamber (see picture below), with audience members viewing from the unique vantage point of the spiral staircase, so this is an artist opportunity not to be missed!

Please note:

  • This cylindrical space has a good natural acoustic. The performance will need to be self-contained – there will be no PA available, but performers can use their own portable amplifier if necessary.
  • Due to the tight confines of the space, this opportunity suits music with no more than 1-2 performers.

Your music should complement the rest of the programme without duplicating it – the concerts will feature music by Steve Reich and Langham Research Centre. Ideas responding to the Bascule Chamber space in some way, for example the surrounding water of the River Thames, bridges, subterranean spaces, etc. are especially encouraged.

Spoken Word Artists, Performance Poets

This is an opportunity for you to create new spoken word work to perform at the concerts. These would be 2 x 2-3 minute long spoken word pieces performed live, in between the music repertoire.

You also have the opportunity to create a short pre-recorded spoken word text, to be played as audiences climb down the 100 steps from street level to the Bascule Chamber before concerts. The descent takes a few minutes, and this is aiming to be a creative way to tell audiences about the space they’re entering, so they are engaged as early as possible.


If you want to be considered for these opportunities, the team would like to know more about your work, and what you would bring to these concerts by performing it live.

1. Send a video or audio recording describing who you are, what music/poetry you have made in the past, what your early ideas are for the brief, and how this will work live. This could be as simple as a video recorded on your phone, and should be no more than 5 minutes long.

2. Submit a link to a video or audio recording of you performing existing work.

For more detailed information on the brief click here. Deadline: Friday 26 May, 5pm to basculechambers@gmail.comIf you need any help with your application, or you have any questions email the team on: Successful entries will be chosen by Thursday 15 June.

Iain Chambers and the Bascule Chamber Concerts are supported by PRS for Music Foundation, and using public funding by the National Lottery through Arts Council England.

Call for proposals for Dark Music Days 2018

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

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

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

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

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

International Young Composers Academy in Tchaikovsky city 2017

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

August 28 – September 12, 2017

Tchaikovsky city, Perm, Moscow

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

Special Guest:

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

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

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

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

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

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

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

Send applications to:

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

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

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

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

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

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

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

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

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

Alexander Khubeev, coordinator of Academy:

Send applications to:

IX. The final concerts

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

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

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

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

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

Exchange 2017

April 24, 2017 in All Opportunities, Performers by mwhiteside

For the third consecutive year, in June 2017 Music for Youth’s Exchange is giving young performers from across Scotland the chance to learn from established artists and be inspired by industry professionals and their peers alike. Hosted by BBC Radio Scotland’s Vic Galloway, Exchange is a whole day of workshops, performances, advice, networking opportunities, a marketplace, and a line-up of speakers covering a whole range of useful topics.

Musicians also have the chance to be seen, and get their music heard by performing live for audiences throughout the day. Our professional Music for Youth Music Mentors will be on hand to offer each group feedback on their music and stage presence and highlight areas for development to take their music further. All groups that perform will also be considered for cross-border opportunities, which includes the Music for Youth Proms at the Royal Albert Hall in November 2017. Sign up for performance opportunities now using the button above (deadline of 1st May 2017) and register for the day as a whole.

More info here

hcmf// shorts 2017

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

Perform at the UK’s leading festival of new music

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


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


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


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


hcmf// will provide:

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

How to apply:


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


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


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


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

Adopt a Composer scheme

March 24, 2017 in All Opportunities, Performers by mwhiteside

The Adopt a Composer scheme pairs member groups with composers for one year, with each pair working collaboratively to create a unique new work.

Apply here

What is Adopt a Composer?

Adopt a Composer pairs amateur choirs, orchestras, and ensembles with a composer for one year. The composer has the opportunity to get to know a performing group and write a piece especially for them to premiere. The group has the chance to contribute to the creation of a new work by some of the UK’s most promising composers. Pieces that are composed are usually around ten minutes long (as a very rough approximation) and are usually written to work around your existing repertoire and schedule.

Adopt a Composer is funded by PRS for Music Foundation and the Philip and Dorothy Green Trust and run by Making Music, in association with Sound and Music and BBC Radio 3.

It was a challenging but very worthwhile experience! It pushed our boundaries, which is what we like to do and having the opportunity of the BBC to record us, was absolutely wonderful!

La Nova Singers – paired with Ed Scolding in 2015/16

What are the benefits for our group?

  • A new piece of repertoire tailored to the strengths and personality of the group
  • A working relationship with a skilled and committed composer
  • The opportunity to be recorded by BBC Radio 3, for possible broadcast on national radio
  • An understanding of the collaborative process of creating new music and the knowledge to undertake this again independently
  • A Group Development Day in January for the MD and another member of the group to attend
  • A new and exciting experience, in which 90+ Making Music groups have now participated

Anna has been a joy to work with. She has been sensitive to the unique nature of the choir and has written a piece that stretches them but also celebrates who they are. She has involved them in the writing from the start and has incorporated their ideas into the final piece. We are very excited about the performance.

Quirky Choir – paired with Anna Braithwaite 2014/15

How does it work?

Following the application process, your group will be paired with an up-and-coming composer for the year during which the composer (mentored by an experienced professional) will write a new piece specifically tailored to your group.

The composer costs, fees for the mentoring composer, and all expenses related to the placement of the composer will be paid by the PRS for Music Foundation. The only costs to participating member groups will be the allocation of sufficient rehearsal and performance time.

The composer retains all rights to the score.

The process:

  • September: pairings announced at launch event – meet your composer!
  • November: your group hosts a workshop introducing the composer to your members
  • January: you and your composer workshop/rehearse the pieces in progress
  • January: you attend our Development Day to meet other participating groups and share ideas and learnings
  • February – April: rehearsing of the draft piece
  • May – September: premiere concert (usually recorded for a broadcast on BBC Radio 3)

How to apply

To apply to take part, complete and submit the online form below. If you would prefer to complete the application form as a Word doc, or if you have any further questions, please contact Sally Palmer (

The deadline for group applications is 5pm Thursday 8 June 2017 (applications for composers wishing to take part will open in May 2017)Following this, shortlisted applicants will be contacted to arrange a 10 minute phone call with us as part of the selection process.

Before completing this form ensure that your group satisfies the following criteria:

  • Music Director and group members are enthusiastic and able to commit to get involved in the composition process over the whole course of the project.
  • Able to arrange time in your schedule to develop, rehearse and perform a new piece in the 2017/18 season (please see above).
  • Is a member of Making Music. (If you are not currently a member, please contact the Making Music office – 020 7939 6030 – to find out about joining).

Apply here

ArtsIceland – Residency in the Westfjords of Iceland

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

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

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

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

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

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

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

Application information
Applications should include the following:

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

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

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

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

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

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

The Mammal Gallery

91 Broad St SW, Atlanta, GA 30303

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

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

The Mammal Gallery – A Space for Creative Minds

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

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

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

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


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

ISAM XIII : July 21 – August 4, 2017 Summer workshops, masterclasses, and competitions for piano, organ and composition

February 14, 2017 in All Opportunities, Composers, Performers, residencey and summerschool by mwhiteside

ISAM XIII : July 21 – August 4, 2017
Summer workshops, masterclasses, and competitions for piano, organ and composition

The International Summer Academy of Music (ISAM) is an annual institution located in the beautiful former Benedictine Monastery in Ochsenhausen, Germany. ISAM’s is a two-week summer music academy deepens musical skills and expands musical horizons through high quality workshops, master-classes, lectures, concerts, and competitions, aimed at selected young and gifted musicians from across the globe. ISAM encourages a coming-together of musical minds. The hallmarks of the Academy’s training program are daily individual lessons and numerous performance opportunities, culminating in a competition for the pianists, organists, and composers, judged by an international jury of the faculty and invited guests. Prizes and scholarships are offered. ISAM is limited to 12 pianists, 12 organists and 12 composers. The small number of participants, coupled with a celebrated faculty that shares all meals and events, creates a rare collegial atmosphere through which a constant flow of stimulating exchange occur. Acceptance is based on the applicant’s artistic potential and/or achievements, evaluated individually by the faculty.

All ISAM participating composers are invited to partake in the annual Joseph Dorfman Memorial Composers Competition. This competition is intended to increase the excitement, energy, and creativity among our hand-picked young and talented composers, while at the same time generate a harvest of new, beautiful, and highly artistic works. The competition carries the name and blessed memory of ISAM co-founder, composer, pianist, musicologist, teacher, and visionary leader, professor Joseph Dorfman (1940-2006.). Winning compositions will be repeated at the Gala Concert and prize giving ceremony.This years theme-motive is typical of A. Ginastera’s musical language.

Composers Competition Prizes include:
• 1st winner: 1000 Euros and a full scholarship for next ISAM
• 2nd winner: 500 Euros and a half scholarship for next ISAM
• 3rd winner: 250 Euros

The dates of ISAM 2017 are July 21 – August 4, 2017. Composers wishing to apply to ISAM, should fill out the online application form:

Program Fees of 990 Euros cover tuition, room and board for the two weeks. The Registration Fee is 144 Euro. Full and partial scholarships are available. More information can be found on ISAM’s website:

For additional information or any questions, e-mail Dr. Ofer Ben-Amots at:

highSCORE Festival 2017 (8th edition)

January 26, 2017 in All Opportunities, Composers, Conference, Opportunity, Other Opportunity, Performers by mwhiteside

highSCORE Festival 2017 (8th edition)
Contemporary Music Festival with Master Classes
Pavia, Italy – August 7-19 – Application deadline: April 14, 2017

There are two composition programs and a contemporary music performance program.

highSCORE Festival is today’s leading Italian Contemporary Music Festival offering masterclasses, one of the “ten summer festivals to get the contemporary music blood pumping” (Composition: Today).
Set every summer in historical Pavia (Northern Italy), it is an invaluable venue for emerging composers wanting to produce and promote their work, inspire audiences with their music, secure future commissions and job opportunities, and join other musicians to create a vibrant artistic community. Musicians work closely with a renowned faculty, talented visiting artists and special guests from around the world for two intense weeks of masterclasses, lectures, workshops and concerts. With Fabio Vacchi (guest of honor). Faculty: Amy Beth Kirsten, Riccardo Lorenzetti, David Ludwig, Umberto Petrin, Christopher Theofanidis and Dmitri Tymoczko among others.

MUME 2017 – 2nd Call for Participation

January 23, 2017 in All Opportunities, Composers, Conference, electroacoustic, Performers by mwhiteside


((( MUME 2017 )))
5th International Workshop on Musical Metacreation

MUME 2017

June 19-20, 2017, Georgia Tech, Atlanta, USA.

MUME 2017 is to be held at Georgia Institute of Technology in conjunction with the Eighth International Conference on Computational Creativity, ICCC 2017.

=== Important Dates ===
Workshop submission deadline: March 10, 2017
Notification date: April 20th, 2017
Camera-ready version: April 28th, 2017
Workshop dates: June 19-20, 2017

MUME aims to bring together artists, practitioners, and researchers interested in developing systems that autonomously (or interactively) recognize, learn, represent, compose, generate, complete, accompany, or interpret music. As such, we welcome contributions to the theory or practice of generative music systems and their applications in new media, digital art, and entertainment at large. We also welcome contributions discussing advances in generative systems as well as their philosophical, and societal implications.

We encourage paper and demo submissions on MUME-related topics, including the following:
— Models, Representation and Algorithms for MUME
— Systems and Applications of MUME
— Evaluation of MUME

Submission Format and Requirements
Please make submissions via the EasyChair system at:

The workshop is a one day and a half event that includes:
-Presentations of FULL TECHNICAL PAPERS (8 pages maximum)
-Presentations of POSITION PAPERS and WORK-IN-PROGRESS PAPERS (5 pages maximum)
-Presentations of DEMONSTRATIONS (3 pages maximum).

All papers should be submitted as complete works. Demo systems should be tested and working by the time of submission, rather than be speculative. We encourage audio and video material to accompany and illustrate the papers (especially for demos). We ask that authors arrange for their web hosting of audio and video files, and give URL links to all such files within the text of the submitted paper.

Submissions do not have to be anonymized, as we use single-blind reviewing. Each submission will be reviewed by at least three program committee members.

Workshop papers will be published as MUME 2017 Proceedings and will be archived with an ISBN number. Please use the updated MuMe paper template to format your paper. Also, please feel free to edit the licence entry (at the bottom left of the first page of the new template). The MUME 2017 latex and Word template is available at:

Submission should be uploaded using MUME 2017 EasyChair portal:

For complete details on attendance, submissions and formatting, please visit the workshop website:

Questions & Requests
Please direct any inquiries/suggestions/special requests to the Workshop Chair, Philippe Pasquier (

CoMA Contemporary Music Summer School

January 19, 2017 in All Opportunities, Composers, Performers by mwhiteside

Through music…
With string, orchestral, vocal ensembles and workshops in composition, contemporary piano, music theatre and on-location sound recording projects. Plus a programme of concerts and première performances in Stromness, Kirkwall, St Magnus Cathedral and the Orkney landscape.

… and exploration
In Scotland’s Year of History, Heritage and Archaeology and the 900th Anniversary of the Death of  St Magnus. With guided tours and time to travel by land and sea through Orkney’s archipelago of wild landscapes, nature reserves and world heritage archaeological and historical sites.

Willam Conway: orchestras
Rolf Hind: piano, composition, mindfulness
Ruth Gibson: viola, strings, composers’ trio
Loré Lixenberg: voices, music theatre
Robin Michael: cello, strings, composer’s trio
Alasdair Nicolson: composition
Chris Watson: soundscapes
James Weeks: voices, strings, composition
Sara Wolstenholme: violin, strings, composers’ trio

Location: Orkney Islands

For further information, please contact or visit

PRSF – Beyond Borders

January 18, 2017 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers by mwhiteside

Funding of up to £15,000 is available for projects that include repeat performances of music written in the past five years, new commissions and recordings.

This opportunity stimulates collaboration between organisations and bands/ensembles in England, Northern Ireland, the Republic of Ireland, Scotland and Wales. It enables music creators to produce exceptional new material to be performed in at least three of these countries.

Launched in 2010, the scheme has supported over 50 projects so far, bringing together organisations and music creators across the UK and abroad.

Please find out more here

Deadline 23rd Feb

International Ensemble Modern Academy – Masters Degree Programme at the Frankfurt University of Music and the Performing Arts

January 18, 2017 in All Opportunities, Composers, Performers by mwhiteside

supported through scholarships from the International Ensemble Modern Academy

In 2006, the International Ensemble Modern Academy (IEMA) in conjunction with the University for Music and Performing Arts Frankfurt am Main (HfMDK) launched a one-year master course “Contemporary Music” for young musicians of outstanding potential in the fields of instrumental playing (flute, oboe, clarinet, bassoon, horn, trumpet, trombone, piano, percussion, violin, viola, violoncello, double bass), composition, conducting and sound directing.

Students admitted to the course are awarded scholarships by the IEMA, for which a separate contract is concluded. The exact amount will be announced with the invitation for the auditions.

The course will run from 1. October 2017 to 30. September 2018. Events (rehearsals and concerts) of the IEMA may also take place during semester holidays.

Deadline for applications
The deadline for applications is February 15th, 2017 (arrival at university!).

Entrance exam
Stage one of the selection is based on the submitted material only. Only Candidates selected in the first stage by a jury of Ensemble Modern will be invited to Frankfurt for the second stage. The auditions for the second stage will take place at the HfMDK in Frankfurt/Main April 3 and 4, 2017.

All applicants submit the following material until February 15, 2017, to the Hochschule für Musik und Darstellende Kunst in Frankfurt am Main:


  • registration form
  • Curriculum vitae and photo
  • copies of school / university diplomas
  • statement about your motivation, personal expectations and target
  • audio or audio-visual material demonstrating your current level of performance skills.
  • payment document which shows you transferred the admission fee of Euro 50,-

For further details

Introduction to Funding for Creatives (Glasgow)

January 7, 2017 in All Opportunities, Composers, cpd, funding, Opportunity, Other Opportunity, Performers by mwhiteside

Wednesday 15th February 2017
10am – 12.30pm
1.30pm – 4pm
6.30pm – 9pm

Glow Arts, Unit 8,
Barras Art & Design
54 Calton Entry
Glasgow G40 2SB.

Come along to our ‘Introduction to Funding’ workshop on the 15th February 2017 to find out more about where to find support, know if the fund is right for you, decoding the jargon and how to communicate your project idea to funders clearly

The workshop will cover the following areas:
Introduction to sources of support for creative projects.
How to know which fund is right for you?
Decoding the jargon.
How to communicate your idea clearly.
What’s in a budget?
Where to get help going forward.

The workshop will be delivered by Jennifer McGlone, who has been working in the creative sector for over 15 years as a Musician, Development Officer, Consultant, Fundraiser and Project Manager. She spent seven years working as a Development Officer for Scottish Arts Council/ Creative Scotland working on the Youth Music Initiative, CashBack for Creativity, Traditional Arts programmes and has assessed hundreds – maybe into the thousands of applications in this time. Since leaving she has been invited back on several occasions as an external assessor/ advisor to the organisations and has been working with individuals and organisations to support their fundraising bids.

Any questions get just email us at

Tickets £30 – Limited to 10 spaces per workshop.

Book before 13th January 2017 for £10 discount – (15Feb17£10 – Code at Checkout).

Book before 20th January 2017 for £5 discount. (15feb17£5 – Code at Checkout).

Location: Glasgow City

For further information, please contact (Jennifer McGlone), or visit

The deadline is Wednesday 15 February 2017 at 18:00.

5-Day Course for choral conductors & vocal leaders

January 7, 2017 in All Opportunities, choral, Other Opportunity, Performers by mwhiteside

Deadline: 28 February 2017 at 12:30

Sing for Pleasure is offers training throughout UK for conductors and vocal leaders. Whether you are trying your hand at conducting for the first time, improving your musicianship skills or refreshing knowledge gained on previous courses, you can look forward to a challenging and enjoyable time in a relaxed but stimulating atmosphere.

SfP conducting training is at four levels. The Foundation level is for complete beginners and those with limited experience of leading singing and conducting. Students on the Intermediate 1 course will normally have some experience of conducting and vocal leadership. The Intermediate 2 course is designed for those who have attended previous Sing for Pleasure courses, though experienced conductors are occasionally accepted directly onto this level. The Advanced course is also designed for those who have attended previous SfP courses.

The 5-Day Course in Glasgow focuses on the Foundation and Intermediate 1 levels.

– Preparing music and gesture thoroughly
– Singing the various voice-parts to enable them to be learnt quickly and efficiently
– Creating rapport and enjoyment
– Developing simple, clear, economical conducting gestures
– Achieving a musical performance, even with the simplest repertoire
– Controlling rehearsals and maintaining a good pace
– Analysing one’s own achievements and the work of others in a constructive way.

SfP Members £375 (non-members £415). The cost includes course handouts and a comprehensive resource pack.

Through the generosity of the John Lewis Partnership, some bursaries are available. Please refer to the website for further details.

There are a few places available (at no cost) for singers who wish to come along just to sing and observe. Please complete the online application form and state your interest to come as a singer.

The venue for the Glasgow course is the Music Department, 14 University Gardens, Glasgow. G12 8QH.

Our highly skilled team of tutors are all members of Sing for Pleasure and bring a range of experiences as professional conductors, musicians, teachers, trainers, adjudicators and workshop leaders. Our tutor for the Glasgow course is Katy Lavinia Cooper. (

The Glasgow course will run on:
11 March
8 April
29 April
20 May
3 June

Location: Glasgow City

For further information, please contact (Ula Weber), or visit

The deadline is Tuesday 28 February 2017 at 12:30.

Kelvin Ensemble – Student Conductor applications

December 30, 2016 in All Opportunities, Opportunity, Other Opportunity, Performers by mwhiteside

The Kelvin Ensemble are looking for a Student Conductor for next semester!
This is a really exciting opportunity for any aspiring conductors. Applications are welcome from matriculated students of 18 years or older.
While you will not be taking all rehearsals, you will be required to become familiar with the scores for our repertoire, and be fully prepared for any rehearsals you will take.

Full details including the Terms and Conditions of the post can be found here:

And the application form can be accessed here:

Good luck!

Call for Papers – EMS17

December 27, 2016 in All Opportunities, Composers, Conference, electroacoustic, Performers by mwhiteside

The Electroacoustic Music Studies Network and the School of Architecture and Design of the Nagoya City University
are happy to announce the 2017 EMS Conference and would like to invite you to participate.

Theme: Communication in/through Electroacoustic Music

Dates and place: 5 – 8 September 2017 – Nagoya City University, Nagoya, Japan

For the Call, please visit the EMS17 Web page at

Deadline date for receipt of proposal for presentation in English: April 1, 2017

Paper acceptance decisions will be emailed to applicants by May 1, 2017.


December 22, 2016 in All Opportunities, Composers, Conference, electroacoustic, Opportunity, Other Opportunity, Performers by mwhiteside

BALANCE-UNBALANCE (BunB – is an International Conference designed to use ART as a catalyst to explore intersections between NATURE, SCIENCE, TECHNOLOGY and SOCIETY as we move into an era of both unprecedented ecological threats and transdisciplinary possibilities.

The BALANCE-UNBALANCE conference will bring artists together with scientists, economists, philosophers, politicians, management and policy experts, sociologists and engineers from across the world with the intent of engendering a deeper awareness and creating lasting intellectual working partnerships in solving our global environmental crisis.

“We are living in a world reaching a critical point where the equilibrium between a healthy environment, the energy our society needs to maintain or improve this lifestyle and the interconnected economies could pass more quickly than expected from the current complex balance to a complete new reality where unbalance would be the rule and human beings would need to be as creative as never before to survive. Environmental problems, economic uncertainty and political complexity have been around for a long time. What was different before was the speed and depth of transformations compared with today’s sudden changes. The frequent occurrence and severity that certain weather and climate-related events are having around us is increasing, and the ability of human beings on modifying adjacent surroundings as well as distant places have turn into a power capable of altering the planet […] The arts could play a major part in helping the global society to understand the magnitude of the crisis we are facing, and in promoting the awareness around environmental matters. it could also be a very good vehicle to disseminate proposals able produce changes in our behavior and decisions, influencing our chances for the future. Artists could promote inter and transdisciplinary actions focusing on our responsibility regarding the turning point we are living in defining the future of -human- life on Earth.”

For further information on the BALANCE-UNBALANCE agenda read: Breaking Paradigms: Electronic Arts & Humanitarian Actions by Ricardo Dal Farra.


BALANCE-UNBALANCE 2017 invites papers, transdisciplinary workshops, artistic activities and artefacts (including VR and Fulldome content), posters and panels that respond to the provocation provided by the ‘Sense of Place’ theme. These initiatives should propose new opportunities for digital/electronic/media arts to catalyse transdisciplinary activity and behaviour change to help solve our global environmental crisis.

BunB 2017 wishes to build on the work of previous BunB Conferences by cultivating virtual and networked models which allow increased diversity, access and dissemination whilst significantly reducing the carbon footprint of a major international conference.

BALANCE-UNBALANCE 2017, A Sense of Place is the 6th edition in the conference series:

BunB 2016 – Manizales, Colombia:
BunB 2015 – Arizona, United States:
BunB 2013 – Noosa, Australia:
BunB 2011 – Montreal, Canada:
BunB 2010 – Buenos Aires, Argentina:
About the theme for BunB 2017: “A Sense of Place”.

Our increasingly mediated relationship with the environment brings new insights to the invisible forces that affect complex ecologies. From meteorological data flows to temporal climate change models, our relationship with our environment is becoming more abstract, simulated and remote – tempering our desire to act. Could it be that we know more and experience less? BunB17 maps the coordinates of our Sense of Place – the horizontal landscape to the vertical transcalar spaces of the macro/micro.

The 6th edition of the BunB conference will be held from August 21 to 23 of 2017 in Plymouth, UK. Produced by i-DAT in collaboration with the Sustainable Earth Institute and Art and Sound at Plymouth University, BunB17 is being produced in collaboration with the North Devon’s UNESCO Biosphere Reserve, Beaford Arts and Fulldome UK.

Deadline for submissions:

January 16, 2017 (midnight, UK time).
Notification of acceptance: February 28, 2017.

Call for participation:

Audio Mostly 2017 “Augmented and Participatory Sound/Music Experiences”: 1st Call for Contributions

December 21, 2016 in All Opportunities, Composers, Conference, electroacoustic, Opportunity, Other Opportunity, Performers by mwhiteside

The Audio Mostly organising committee would like to welcome researchers, interaction designers, engineers, artists, practitioners, audio professionals, and anyone interested in sound as a medium of interaction, to Audio Mostly 2017. The conference will be held on 23-25 August 2017 at Queen Mary University of London (QMUL), UK.

Audio Mostly is an interdisciplinary conference on design and experience of interaction with sound that prides itself on embracing applied theory and reflective practice. Its annual gatherings bring together thinkers and doers from academia and industry that share an interest in sonic interaction and the use of audio for interface design. This remit covers product design, auditory display, computer games and virtual environments, new musical instruments, and education and workplace tools. It further includes fields such as the psychology of sound and music, cultural studies, system engineering, and everything in between in which sonic interaction plays a role. The 2017 edition will be a lively and sociable mix of technical presentations, posters, demos, concerts, and workshops.

Audio Mostly 2017 is organised by the Centre for Digital Music (C4DM) at Queen Mary University of London (UK), which is a world-leading multidisciplinary research group in the field of music/audio science and technology.

As in previous years, the Audio Mostly 2017 proceedings will be published by the Association for Computing Machinery (ACM) and made available through their digital library (TBC). Papers, demos and workshop proposals will be double-blind peer reviewed.

Conference Theme “Augmented and Participatory Sound/Music Experiences”

At the intersection between augmentation (“the action or process of making or becoming greater in size or amount”) and participation (“the action of taking part in something”) lies the idea of expanding how we interact with our environment and becoming actively involved in situations. Applied to science, the arts, health and the environment, these themes invite to push back the frontiers of design and interactions, to propose new artistic formats adapted to audience creative interventions, or to improve accessibility and empower people. Both augmentation and participation are linked to the sense of agency; augmentation generally implies increased degrees of freedom or access to new information, and participation in design or the arts involves a redistribution of the roles between designers/artists and users/audiences. The concept of augmentation can be applied to a wide range of objects (e.g. musical instruments, concert stage, garments, everyday objects), situations/actions (e.g. live performance, mixing, cooking), and reality itself with “augmented reality” systems and displays providing new sensory information. Participation can be applied at different stages of the production-consumption chain. For instance, participatory design gathers designers and users to conjunctly create artefacts, and participatory art leads to shared contributions from artists and audience participants.

What is the potential of sound/music in facilitating augmentation and/or participation?

Augmentation and participation both have the potential to transform our emotional or personal association with situations, people and objects.

How does augmentation and/or participation applied to sound/music affect our life and experiences? What are their advantages and what are their drawbacks?

Audio Mostly 2017 encourages the submission of papers, music, demos, and workshops addressing such questions and others related to the conference theme and topics. We welcome multidisciplinary approaches involving fields such as human computer interaction, music informatics, information and communication technologies, sound design, visualisation, composition, perception/cognition and aesthetics.

Please visit our detailed call for contributions for the full list of topics and further information:
Call for papers:
Call for music:
Call for demos:
Call for workshops:

Important dates
Deadline for paper, music, demo and workshop submissions: 31 March 2017
Notification of acceptance: 22 May 2017
Camera-ready paper submission: 23 June 2017
Early registration deadline: 7 July 2017
Conference: 23-25 August 2017

Colocation with 3rd Web Audio Conference (WAC)
The conference will be collocated with the 3rd Web Audio Conference (WAC) “Collaborative Audio” (21-23 August 2017), with one day, Wednesday the 23rd, a common day between the two events. Participants will have the opportunity to attend both events at a discounted rate.

For more information or questions, please contact the organizing committee at:

We look forward to receiving you in London in 2017!

Conference Committee

General Chair
George Fazekas, QMUL
Paper and Program Chairs
Mathieu Barthet and Tony Stockman, QMUL
Demonstration and Poster Chairs
Fabio Morreale and Johan Pauwels, QMUL
Music Chair
Adib Mehrabi, QMUL
Organising Committee
Gary Bromham, Damir Juric, Beici Liang, Angela McArthur, Hazar Emre Tez, Sue White, William James Wilkinson

Sound Thought 2017

December 21, 2016 in All Opportunities, Composers, Conference, Performers by mwhiteside

Labora[R]tio: Collaborate, Articulate, Integrate

Latin: work, effort

Centre for Contemporary Arts, Glasgow

May 10th – 12th, 2017


Sound Thought is an annual festival of music and sound research, composition, and performance run by postgraduate students from the University of Glasgow. Sound Thought presents a unique opportunity for postgraduate researchers by providing them with a platform to present their research in a collaborative, interdisciplinary environment alongside the work of contemporary practitioners. Sound Thought 2017 marks the 10th anniversary of the festival, having been initially established in 2007.

This year’s theme, “Labora[R]tio” will be explored by exhibiting the work of postgraduate researchers, academics, artists, and contemporary practitioners, contextualized by the following themes pertinent to the creative process –

Articulate: Extrovert vs. Introvert       

Finding a unique voice within the creative arts – perspectives

Collaborate: Long distance vs. local

Exploring spaces and engagement – connections

Integrate: Software vs. Hardware

Formulating aesthetic strategies through technologies – developments

Call for Submissions and Proposals

Sound Thought welcomes submissions from postgraduate researchers, academics, professionals, and practitioners of music, sound art, and electronic and audiovisual media, as well as from artists in other fields.

Submission of papers, lecture-recitals, performances, fixed-media works, and installations of any artistic discipline are welcome, so long as they interact with the creative process in music and the arts. If you have an additional form or idea, please feel free to contact us to discuss your idea. We also welcome the submission of works currently in progress.

Please complete an application form available from and send to

The deadline for submissions of abstracts and proposals is February 5, 2017.

Notices of acceptance will be provided week commencing March 5, 2017.

Submission Guidelines

Please complete the submission form in order to provide us an idea of your work and how it relates to this year’s theme.


Individual or joint papers should be approximately twenty minutes, allowing an additional ten minutes for questions. Lecture-recitals should be approximately forty-five minutes in duration.


Please submit for consideration proposals for any of the following: acousmatic/electroacoustic works, audiovisual works, sound installations, and field recordings of up to 15 minutes’ duration.

An 8 channel diffusion system is available for electroacoustic works, as is equipment for presenting audiovisual work. Installation artists may be required to bring their own technical equipment (please let us know what you can/can’t bring in your proposal).

Proposals for sound works should also provide:

An excerpt from, or the complete work you are proposing


An example of your previous work

Please include a link to a website where the work can be streamed or send as an attachment via Dropbox or Google Drive.


Live performances of works of any style (acoustic, audiovisual, acousmatic, etc.) are encouraged. Performances should not exceed approximately thirty minutes (multiple shorter works are also welcomed).


Venue Tech Specs

Please feel free to get in touch regarding venue technical specs. Sound Thought events will take place in the CCA’s theatre, cinema, and clubroom. There are opportunities for installations to be placed throughout the building; please get in touch to discuss with the committee. Any questions can be sent to

Delegate Fee                                                                                                 

As the festival is run entirely by postgraduate students, we are requesting a £15 delegate fee from selected contributors to aid with the festival’s technical requirements. We do not have the funds to cover travel or accommodation expenses but are happy to provide a letter of acceptance for your institution.


December 18, 2016 in All Opportunities, Composers, electroacoustic, Performers by mwhiteside

eContact! 19.3
Light+Sound / Lumière+Son
DEADLINE / DATE LIMITE: 31 December 2016  |

[E] The Canadian Electroacoustic Community (CEC) is now accepting submissions for an upcoming issue of eContact! exploring and presenting various practices that forge a link between sonic performance and light. We are pleased to announce Nicolas Bernier as Guest Editor for eContact! 19.3.

Light and the shadow that accompanies it have long been sources of fascination, whether for painters, architects or philosophers, or for children fleeing monsters. In recent years, this fascination with light has grown amongst sound artists (composers, performers, multidisciplinary artists, etc.). Motivated by the increasing accessibility of new technologies, these artists integrate luminosity within their artistic practices with surprising ease.
From the Ocular Harpsichord imagined by Louis Bertrand Castel in 1725 to Scriabin’s symphonic work for orchestra and clavier à lumières (“Prometheus: The Poem of Fire”) to Iannis Xenakis’ Polytopes through to contemporary audio-luminous experiments undertaken by Kurt Hentschlager, Matthijs Munnik, Nonotak, Robin Fox or Chris Salter… these are the types of relationships between Sound+Light that this issue of eContact! aims to “bring to light.”

eContact! is a freely available online journal for electroacoustic practices published four times a year by the Canadian Electroacoustic Community (CEC).

Composer and multidisciplinary artist Nicolas Bernier was awarded the prestigious Golden Nica in Digital Musics & Sound Art at the 2013 Prix Ars Electronica for his work “frequencies (a)”.

SoundScape Summer School

December 18, 2016 in All Opportunities, Composers, Opportunity, Other Opportunity, Performers, residencey and summerschool by mwhiteside

Creating the Music of Tomorrow

• Composers: Apply by January 1, 2017
• Performers: Apply by March 1, 2017
• soundSCAPE encourages applications from performers on ANY instrument, including vocalists and conductors.

Eastman Broadband, 2017 Ensemble in Residence
• BroadBand is a flexible ensemble based in Rochester, New York, featuring current students and recent alumni of the Eastman School of Music.
• Composer applicants selected to write for BroadBand will be notified by January 15, 2017.
• Two applicants in percussion will be selected to perform with BroadBand at soundSCAPE.

Festival Sinfonietta
• Comprised of performance applicants and members of Eastman BroadBand with Festival Faculty.
• accepting auditions on flute, oboe/english horn, clarinet, bassoon, trumpet, horn, trombone, piano, saxophone, percussion, violin, viola, cello, bass.
• Composer applicants selected to write for the Sinfonietta will be notified by January 15, 2017.

Small Chamber Groups
• Ranging from two to six players, each group will include a member of Eastman BroadBand or Festival Faculty along with participant performers.
• accepting auditions on all instruments (as listed under Sinfonietta above), including guitar, voice (all types), and any other instrument.
• Composers selected to write for chamber groups will be notified by January 15, 2017.

soundSCAPE facilitates the flowering of new music and the exchange of ideas and culture between musicians of tomorrow’s generation. Each summer in idyllic Maccagno, Italy, soundSCAPE attracts composers and performers from around the world for two weeks of concerts, lectures, master classes and workshops. The essence of the festival is process and collaboration – soundSCAPE has been the starting point for new music initiatives that have flourished long beyond the festival, all around the globe. We approach all music with open ears and a passion for making your voice heard… please join us for a celebration of new music in 2017!

Established in 2005, soundSCAPE is directed by Nathanael May.


Creative Exchange

December 16, 2016 in All Opportunities, Performers, residencey and summerschool by mwhiteside

Enterprise Music Scotland is offering chamber musicians the opportunity to take part in ‘Creative Exchange’, our peer exchange residency in Crear, rural Argyll. The 4-day residency will involve approx. 3 ensembles, and provides time to rehearse, relax, plan, create and research your ideas with access to central support from EMS.

The aims of Creative Exchange are:

•        to provide creative space and place to explore new projects and ideas

•        to encourage conversation and collaboration

•        to support ensembles in their development

As well as excellent rehearsal spaces, participating ensembles will be provided with accommodation (comfy beds and beautiful views) and meals (tasty food and creative conversations).

The dates of the residency are 6th – 9th March 2017.

At this stage, we ask you to formally express your interest by completing the brief application form (downloadable from link at top right of this page) which will help us to ascertain which ensembles will benefit most from participation.

We also ask that you attach a summary of your work to date as an ensemble, this may take the form of a short biog or CV.

The DEADLINE for applications is 5pm, Friday 13th January.

Please send your application to

We will let you know the outcome of your application within a week of the deadline.

Accommodation, meals and travel costs (see page 4 of application) will be covered by Enterprise Music Scotland.

“The residency was a brilliant experience. I feel so relaxed and inspired as a result of it.”

“The Creative Exchange provided us with some valuable time away – time to create and reflect, away from the usual distractions of every day life. It was wonderful to have the opportunity to do some intensive work in a beautiful and peaceful location. And best of all, the chance to swap and discuss ideas with other musicians.”

Sound + Environment 2017 – Call for Works and Papers

December 16, 2016 in All Opportunities, Composers, Conference, electroacoustic, Performers by mwhiteside

We are seeking proposals for papers, workshops, compositions, installations and interventions at ‘Sound + Environment 2017’ (University of Hull, 29th June – 2nd July 2017).

‘Sound + Environment 2017’ is a four day conference bring together artists and scientists to explore the ways in which sound can deepen our understanding of environments. Confirmed keynotes so far are BAFTA award-winning sound artist and field recordist Chris Watson and Australian sound artist Leah Barclay. The conference will see the launch of a specially commissioned surround-sound installation from Chris Watson tracing the course of the Humber River from ‘Trent Falls to Spurn Point’. A number of other sound installations and performances will be featured in collaboration with Hull UK City of Culture and the PRS New Music Biennial.

Through exploring scientific and artistic approaches together, we hope to engage with sound in order to create complementary ways of investigating, understanding, and taking action.

Please see: for further information.

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