Friday, February 28, 2003

Help TCM Score Film History and Win $10,000

> We received this listing and wanted to give it out > to anyone who was interested. > > Turner Classic Movies, Film Music Magazine, and > Tonos > are proud to present the 4rd Annual Young Film > Composers Competition, sponsored by The Guitar > Center. > > For those who live to make music, this is a unique > opportunity for young composers to bring their > musical vision to film. The winner of last year's > competition, 27 year old H. Scott Salinas from > Philadelphia, Pennsylvania, recently scored the 1928 > silent film Laugh, Clown, Laugh, which will premiere > on TCM on February 26, 2003 at 10:00 p.m. (ET). > > In addition to Laugh, Clown, Laugh, Turner Classic > Movies has more than 100 silent films in its library > that have not been seen since their theatrical > debut, > as they were originally performed with live musical > accompaniment. It is our ongoing initiative to add > music to these historic films which deserve to be > seen by a new generation of filmgoers. It is also a > wonderful opportunity for young film composers to > create a motion picture score. Artists between the > ages of 18-35 are eligible to compete in our 3rd > Annual Young Film Composers Competition and may > select one of four silent film clips to score from > our web site. (This year?film clip choices include > > Blood and Sand starring Rudolph Valentino, College > with Buster Keaton, Lillian Gish and John Gilbert in > La Boheme and The Cabinet of Dr. Caligari). A select > team of industry professionals will mentor the grand > prize winner through the entire scoring process, > culminating in the recording of the winning > composition that may air on Turner Classic Movies. > This year's official spokesperson for the 3rd Annual > Young Film Composers Competition is Oscar winning > composer Elmer Bernstein. You can see and hear > samples of his film score work from The Magnificent > Seven and other movies being featured on Turner > Classic Movies at and review > eligibility requirements and entry deadlines at this > website. > > TM© & 2003 Turner Classic Movies An AOL Time Warner > Company. All rights reserved. > > VersusMedia is not the film company seeking music, > we are merely the ones spreading the word. > > Please contact the filmmaker directly if you are > interested. > > Thanks, > VersusMedia Film Service > >

Monday, February 24, 2003

No Deadline The Manhattan New Music Project, a jazz and contemporary music organization, is now building a roster of Teaching Composers to serve for brief residencies in the New York City Public Schools (grades K-12). Individuals selected will be independent contractors who will work from one to five days a week for about 4 hours a day on site and also attend staff development sessions. The compensation for this position begins at $150 per diem to teach 4 classes per session. Individuals with significant experience in teaching and who are ready to model classroom learning within the above framework may be offered more. For full information, please visit the web site or contact: Paul Nash, Director Manhattan New Music Project Fax: (212) 977-1069 Email: Web:
Postmark Deadline: May 5th 2003 The Prix Ton Bruynel is open to composers of any age or nationality. The prize of EUR 5000 (approx US. $5417.50) is to be used as a commission for a new work, which will be premiered during the International Gaudeamus Music Week 2004. The Foundation Ton Bruynel will only carry the costs of the performance by musicians resident in The Netherlands. Interested composers may submit one electroacoustic work of no more than 20 minutes in duration. Works may be for tape only or for tape and 1-8 instruments. Works may already have been performed, but they must have been composed not more than fiveyears ago. For more information and complete submission guidelines, please visit the web site or contact: Annelie de Man 1e Tuindwarsstraat 3 1015 RT Amsterdam THE NETHERLANDS Email: Web:
Receipt Deadline: April 30, 2003 The 24th Irino Prize for Chamber Music 2003 is open to composers of any nationality who are less than 35 years old as of June 23, 2003. Compositions of any duration scored for not more than 12 players with or without tape are eligible. Instrumental music with a live-computer component can also be submitted. Compositions must have been premiered between January 1, 2001, and December 31, 2002, and must not have received any previous prizes. Composers may submit one composition only. There is an award of JPY 200,000 (approx. US $1669). For more information, please contact: The Irino Prize Foundation c/o JML Seminar Yoshiro Irino Institute of Music 5-22-2 Matsubara, Setagaya-ku Tokyo 156-0043 JAPAN Tel: (81) 3 3323 0646 Fax: (81) 3 3325 5468 Email:
Receipt Deadline: April 14, 2003 The Genesis Opera Project is seeking opera proposals and ideas for commissioning and production. The project is open to composers 35 years of age or younger on April 14, 2003, who have not yet had an operatic work performed in a major arts centre. A panel will select six projects to commission for further development. The commissioning panel has a wide range of experience in all aspects of theatre, performance, opera, and musical theatre. The definition of what an "opera" is matters less than the strength and coherence of the musical and dramatic ideas. A two-day presentation or work-in-progress will take place in London in front of an invited audience of performing arts professionals. Three proposals will be selected for full commission, which will consist of GBP 15,000 (approx. US $24,405) and GBP 3000 to the librettist. For complete information and submission guidelines, please visit the web site or contact: The Administrator, Genesis Opera Project Genesis Foundation PO Box 32815 London N1 1GE UNITED KINGDOM Email: Web:
Receipt Deadline: April 1, 2003 The National Federation of Music Clubs (NFMC) announces a competition for an original composition to be used for the closing of NFMC meetings. Works should be for piano and unison or two-part voices, suitable for group singing, with a duration of approximately 2 minutes and may be sacred or secular in nature. There is a prize of $500. For full guidelines, please visit the web site or contact: Margaret Beth Williamson, National Chairman 6408 Oakfield Road Columbia, SC 29206 Tel: (803) 782-0310 Email: Web:
Receipt Deadline: April 1, 2003 Music Omi International Music Residency Program is now accepting applications for the summer 2003 session (July 31 - August 17), with guest curator Scott Fields. Approximately a dozen musician-composers and performers from around the globe will gather for two and a half weeks to share in a unique collaborative music making residency program. A singular feature of the Music Omi artist colony experience is the presentation of a public concert at the conclusion of the program. Performing composers, improvising musicians, and sound artists from all musical disciplines who wish to broaden their artistic horizons and engage actively with other musicians are encouraged to apply. All awarded fellows commit to remaining for the entire residency and to participating in the concluding concert. Everyone accepted to Music Omi receives full room and board during his or her stay. The beautiful Music Omi campus, on 140 acres of rural farmland, is located in the historic Hudson Valley in upstate New York. For full information and guidelines, please visit the web site or contact: Jeffrey Lependorf, Music Omi Director Art Omi International Arts Center 55 Fifth Avenue, 15th Floor New York, NY 10003 Email: Web:
Receipt Deadline: April 1, 2003 Meet The Composer announces its newest grant program, Meet The Composer's Global Connections, which aims to create support for composers to share their work with a global community. The program is open to composers working professionally at all career stages. Grants will be made to composers to cover travel, accommodation, and per diem costs related to travel abroad for the live performance of their works or for research and development. Grants will range from $500 to $5000. Global Connections helps ensure that international audiences see and hear the impressive and creative range of work offered by today's living composers. It also helps support the creative and professional development of living composers through the performance of their work worldwide. Applications must be submitted jointly by a composer and a hosting organization. The purpose of Global Connections is to foster international exchange. The composer and hosting organization must not be based in the same country, therefore, and one of the two must be based in the US. For complete guidelines and an application form, please visit the web site or contact: Meet The Composer's Global Connections 75 Ninth Avenue, Floor 3R, Suite C New York, NY 10011 Tel: (212) 645-6949 x101 Fax: (212) 645-9669 Email: Web:
Receipt Deadline: March 31, 2003 The First Electro-acoustic Miniatures International Contest Confluencias, organized by the Ministry of Culture of the Junta de Andalucia (Spain), invites submissions from composers regardless of age and nationality. The aim of the contest is the creation of sound miniatures using the language of electro-acoustic music. Pieces should be 2-5 minutes in duration. A maximum of 3 pieces may be presented. The following two formats will be accepted: (1) Audio CD (not .wav) at 44.1 Khz/16 bits and (2) MP3 (sent to the e-mail address below). All submissions should include composer's contact information, bio, and information about the piece (e.g., methods used, concept, and graphics). Thirteen miniatures will be selected in April for a performance at which the winning piece will be chosen by the jury and attending audience. There is a prize of EUR 3000 (approx. US $3221.70), publication, and CD recording. For complete information, please visit the web site or contact: Consejeria de Cultura - Junta de Andalucia Direccion General de Fomento y Promocion Cultural Area de Musica para: Confluencias/ Miniaturas Electroacusticas c/ Levies, 17 41004 Sevilla SPAIN Email: Web:
Receipt Deadline: March 25, 2003 Briar Cliff University announces a call for elevated high school-level choral scores. Four finalists will be selected and a high quality Iowa high school chorus will prepare the score for its premiere in Sioux City, IA, on May 2, 2003. The winning score will be published by Alliance Publishing, Inc. (WI), and the composer will receive an award of $500. Each finalist must be available to come to the Briar Cliff campus on May 2 in order to work with the high school choir in rehearsal. Scores must be currently unpublished. The work can be a cappella or have a piano accompaniment. Text should be in the public domain. For more information, please contact: Mark Simmons Director of Choral Activities Briar Cliff University 3303 Rebecca St. Sioux City, IA 51105 Tel: (712) 279-5548 Email:
Postmark Deadline: March 22, 2003 Through a grant from the Minnesota-based McKnight Foundation, the American Composers Forum announces its 2003 McKnight Composer Fellowship Program, open to Minnesota Composers, and its 2003 McKnight Visiting Composer Fellowship Program, open to composers living outside of Minnesota. The McKnight Composer Fellowship Program offers four $25,000 recognition awards to mid-career Minnesota composers. These unrestricted fellowship funds will be supplemented with an optional project grant of $5000 for fellows to pursue a community-based project of their own design. Composers are sought whose work shows consistent quality, extraordinary accomplishment, and outstanding potential in any musical genre (e.g., jazz, ambient, international, classical, ethnic, experimental, performance art, electronic, and sound art). The McKnight Visiting Composer Fellowship Program awards up to two composers $14,000 each to design and carry out their own residencies in Minnesota. Visiting composers spend at least 60 days (preferably continuous) in Minnesota working on projects with Minnesota communities (preferably not musical communities). This is not a commissioning program, although new work may be a part of the residency. Visiting composers should complete their projects within one year of receiving the award. In keeping with the Forum's commitment to promoting awareness and understanding of living composers, the program encourages interaction with a variety of venues where new music is rarely heard (e.g., rural areas, schools, and community centers) and with participants who may not have worked with a composer before. For more information about these programs, please visit the web site or contact: American Composers Forum McKnight Composer Fellowship Program 332 Minnesota Street, E-145 Saint Paul, MN 55101-1300 Tel: (651) 251-2824 Fax: (651) 291-7978 Email: Web1: Web2:
Postmark Deadline: March 15, 2003 The 2003 International Max Brand Prize will be awarded to musicians who work in electronic music, electroacoustics, and expanded media. The prize is open to all composers and artists without limitations as to training, nationality, age, or reputation. There is a prize of EUR 5000 (approx. US $5369.50). The prize will be presented on April 26, 2003, Max Brand's birthday, as part of "moving patterns," a weeklong program of electronic music at the Austrian Cultural Forum in New York. Each participant or group must submit one work on audio CD or DVD (broadcast quality) and related concept documents. Previously published works may be submitted. For complete information and an application form, please visit the web site or contact: mica - music information center austria Max Brand Preis 2003 Stiftgasse 29 A-1070 Vienna AUSTRIA Tel: (212) 319-5300 x203 Fax: (212) 319-9636 Email: Web:
Receipt Deadline: March 15, 2003 The quartett22 is hosting a competition as well as an ongoing open call for scores. There is an award of EUR 1500 (US $1621.50) as well as performances throughout Austria for the winning composition. Selected compositions from the open call for scores will also be performed throughout Austria. Scores should be for 2 clarinet players (from e-flat to bass cl) and 2 saxophone players (from soprano to baritone). Works including live electronics or tape are welcome. Composers interested in the competition should send an anonymous score and playing parts along with a c.v. (all marked with a special number or letter code) to mica-music information center austria; Stiftgasse 29; A-1070 Vienna, Austria. For more information on the open call or competition, please contact: Petra Stump & Heinz-Peter Linshalm Neubaug?rtel 39/23 A-1150 Wien/Vienna AUSTRIA Tel: (43) 20 9475050 Fax: (43) 20 9475050 Email:


The American Music Center will offer Professional Development Workshops in the following cities: New York City, March 29-30, 2003, Hunter College, Room 404, Hunter North, 69th St. between Park and Lexington. San Francisco, April 5-6, 2003, UC Berkeley, Morrison Hall, Room 125. Seattle, April 12-13, 2003, Jack Straw Productions, 4261 Roosevelt Way N.E. Saturday, 10am-5pm: Every Composer's Business: Essentials for Your Career An expanded version of our popular Business Basics seminar that provides you with the important "real-world" information on copyright, licensing, commission contracts, a new, expanded section on negotiating, and more that you probably didn't learn in college. Sunday, 1:00-3:00pm: Raising Your Visibility: How to Promote and Market Your Music Formerly presented as part of Every Composer's Business, this workshop covers promotional materials, networking, and other ideas to help you get the word out about your music. Discover what the major publishing companies know that you need to know. Bring a list of your works and any promotional materials you have created. Sunday, 3:30-6pm: A Better Score: How to Produce Exceptional Scores and Parts Did you know that many conductors, ensemble directors, and other key decision-makers will not even look at a score that doesn't follow certain standards? Make sure this doesn't happen to you. Join us for an informative, enlightening workshop that will give you a new perspective on your final product. A Better Score covers what you need to know to produce professional-level, performer-/conductor-friendly scores and parts. For further details and to register: go to; call (212) 366-5260 or email

Friday, February 21, 2003

Postmark Deadline: April 1, 2003 The Minnesota Orchestra and the American Composers Forum, in cooperation with the American Music Center, present the 2003 Minnesota Orchestra Reading Sessions and Composer Institute, which will take place in Minneapolis, MN, October 26-31, 2003. The Minnesota Orchestra Reading Sessions and Composer Institute offers a seven-day intensive immersion into the world of a major American symphony orchestra. Under the guidance of composer Aaron Jay Kernis, up to 9 composers will have orchestral works read by the Minnesota Orchestra and will participate in a series of professional workshops on musical, career, and community outreach issues. Composers will receive pre-reading consultations and post-reading composition mentoring with Kernis. They will also meet with Minnesota Orchestra members and attend small-group sessions with musicians and other leading music industry professionals. The Institute will nurture the participants' musical acumen and broaden their career management skills, assisting in their growth as artists and community leaders. Two national panels of prominent composers will review submitted scores and select the group of composer participants and alternates. The Minnesota Orchestra will provide composers' travel, hotel, and meal allowance. For complete information and submission guidelines, please visit the web site: American Composers Forum 332 Minnesota St. Suite E-145 St. Paul, MN 55101 Tel: (651) 251-2826 Email: Web:
Receipt Deadline: March 15, 2003 The International Competition of Electroacoustic Music, Prix SCRIME 2003, is open to composers born after January 1, 1968. Works must be acousmatic music and be 8-15 minutes in duration. Two prizes will be awarded among the 6 pre-selected finalists presented in concert: the "Prix SCRIME 2003," EUR 1500 (approx. US $1573.50); and the "Prix du Public," EUR 700. A CD of the finalists, co-edited by the Ina-GRM, will be made in the year that follows the competition. For complete submission guidelines, please visit the web site or contact: Studio SCRIME Universit?ordeaux 1 351 Cours de la Lib?tion 33405 Talence Cedex FRANCE Tel: (33) 5 57 96 29 85 Email: Web:
Receipt Deadline: March 15, 2003 The Greek Ministry of Culture and Boston University present the Alea III International Composition Prize, open to composers born after January 1, 1963. Several works will be chosen for performance by Alea III, the Performing Arts Ensemble in Residence at Boston University. One work will be selected for a $2500 award, which will be announced in late September or early October 2003. Only one score per composer is permitted. Full scores of any style and aesthetic direction may be submitted. Eligible works may be for solo voice or instrument, or for chamber ensemble of as many as 15 performers, lasting from 5-15 minutes. Instrumentation must be from the following: fl (doubling picc or alto), ob (doubling Eng hrn), cl (doubling bs cl), bsn, hrn, tpt, tbn, tba, perc (2 players), kybd, hrp, gtr, str (1-1-1-1-1), tape, and voice. For complete guidelines, please visit the web site or contact: Alea III International Composition Prize Boston University School for the Arts Music Division 855 Commonwealth Avenue Boston, MA 02215 Tel: (781) 793-8902 Email: Web:
Postmark Deadline: March 1, 2003 The ASCAP Foundation/Morton Gould Young Composer Awards are open to composers in all musical genres and are intended to encourage developing music creators during the earliest stages of their careers. Named in honor of Pulitzer Prize-winning composer and former ASCAP President Morton Gould, the cash prizes are awarded each year to composers who are citizens or permanent residents of the United States or have a student visa and are under 30 years of age. The winning composers share over $30,000 in ASCAP Foundation Awards, including the annual Leo Kaplan Award in memory of the distinguished jurist and music lover who served from 1967-1995 as ASCAP Special Distribution Advisor, and a grant from the Meyer Fund for our youngest creators, K-12th grade. For complete information, please visit the web site or contact: Frances Richard The ASCAP Foundation/Morton Gould Young Composer Awards One Lincoln Plaza New York, NY 10023 Tel: (212) 621-6329 Email: Web:
Receipt Deadline: March 1, 2003 The Ucross Foundation Residency Program is currently accepting applications for upcoming Residency Sessions. Located on a 22,000-acre working cattle ranch on the High Plains in northern Wyoming, the Foundation provides individual workspace and living accommodations at no charge to artists and writers working in all disciplines. A secluded Composer's Cabin, Jesse's Hideout, was recently built on the banks of Piney Creek. Residencies range from two to six weeks. The Foundation accommodates eight artists at any one time; approximately 60 Fellows are selected annually. Upcoming deadlines are March 1, 2003 for Fall Session, which runs from August to December; and October 1, 2003, for Spring Session 2004. For more information, please visit the web site or contact: Ucross Foundation 30 Big Red Lane Clearmont, WY 82835 Tel: (307) 737-2291 Fax: (307) 737-2322 Email: Web:
Receipt Deadline: March 1, 2003 The 14th annual Ernest Bloch Music Festival invites American composers of all ages to apply for residence at its 2003 Composers' Symposium (June 27-July 5) in Newport, OR. Award-winning composer Chen Yi will be Composer-in-Residence. She will lead seminars and conduct discussions. Under the direction of Symposium Director Henry Mollicone, a core group of five professional musicians--vln, vc, pno, hrn, perc (a list including mallets and drums is available)--will rehearse and perform new works by the selected composers. Interested composers should submit a resume, two original scores with corresponding cassettes or CDs of recent representative works (of any instrumentation), and names, with contact information, of two professional references. Please indicate whether you would like to compose a new work for the festival or prefer to have an existing original work played, in which case you should submit the latter with your application. All pieces performed may employ any combination of the five instruments in the core ensemble, using 1-5 of the players. Please indicate whether you have participated in the Ernest Bloch Music Festival in the past, as there is a three-time limit on composers' participation. Acceptances will be announced by March l5, 2003. Upon acceptance, parts and scores must be received no later than May 3l, 2003. If you would like your materials returned to you, you must include a self-addressed envelope with sufficient postage affixed. There is a Symposium Participant fee of $450, which includes tuition, housing, and lunch. Scholarship applications for tuition will be considered. The Symposium Auditor fee of $200 includes lunch but not housing. For more information, please visit the web site or contact: Henry Mollicone, Director Composers' Symposium 18709 McFarland Avenue Saratoga, CA 95070 Email: Web:
Postmark Deadline: February 28, 2003 OPUS 21 invites composers of art music from all genres^?ncluding contemporary classical, jazz, rock, and world music, as well as those whose compositions fall into hard-to-define categories^?o submit works to be considered for performance on one of the group's multi-genre collage concerts during the 2003-04 season. Selected pieces will be performed in New York City and/or Michigan. Solo and small ensemble works of any instrumental combination, vocal works, and works involving electronics are welcome. Works may be for acoustic and/or amplified instruments and voices. Durations of 10 minutes or less are preferred, although longer compositions may be considered. For complete guidelines, please visit the web site or contact: Richard Adams c/o OPUS 21 145 Prospect Street Kalamazoo, MI 49006 Tel: (269) 552-4898 Tel2: (212) 995-2700 (NY) Web:
Receipt Deadline: February 25, 2003 Trinity Chamber Concerts of Berkeley, CA, in conjunction with French horn player Richard Burdick, is searching for compositions for horn and tape. The tape part must be prerecorded, not live electronics. Works for solo horn or for horn with any combination of vc, pno, S (the Burdick Ensemble), and tape will also be considered for performance. For more information, please visit the web site or contact: Richard Burdick 1728 Coloma Way Woodland, CA 95695 Email: Web1: Web 2:

LAST Call for Entries

> >The Santa Cruz Digital Arts Festival announces the VERY LAST "Call for >Entries" for all local digital artists to participate in the Second Annual >Santa Cruz Digital Arts Festival. We are also looking for creative >video/motion graphics organizers to help with DV and motion graphics >events. Space is secured for music and fine art as well as other venues. > >If you plan to be involved, please attend the meeting or send a note to > > >A general information and organizational meeting will be held at the UCSC >Extension University Town Center (on the corner of Pacific Ave and >Cathcart in downtown Santa Cruz--entrance located in the Logo's parking >lot) on Wed, March 5, 6-7:30pm in room 223. > >The SC Digital Arts Festival will be held this April, from 4/3/03-4/20/03. >For more information or to donate goods and services to our upcoming, BIG >fundraising raffle, email > > >Sincerely, > >The 2003 Santa Cruz Digital Arts Festival Organizing Committee >

Thursday, February 20, 2003

Subject: [BA-NEWMUS:8669] Seminars on Securing Space for the Arts City of Oakland Crafts & Cultural Arts Department and California Lawyers for the Arts PRESENT:

Securing Space for the Arts: ArtHouse OAKLAND Speaker Series Every Third Thursday in Oakland City Hall

<> January 16: Becoming an Artist-in-Residence 5:30pm-7:00pm, Oakland City Hall How can you become an artist-in-residence? Representatives from the Bay Area organizations that sponsor residences for visual, performing and/or literary artists will discuss their themes and application process February 20: New Funding/Financing Sources for Arts Facilities 5:30pm-7:00pm, Oakland City Hall Learn about grants, loans and loan guarantee programs available for non-profit arts facilities. Program officers from programs available to small and mid-sized organizations will explain the process. March 20: Qualifying to Buy a Studio or Live/Work Art Space 5:30pm-7:00pm, Oakland City Hall The first step to ownership is qualifying for financing. A loan broker will explain what it takes to qualify for loans, focusing on the particular needs of artists. April 17: Avoiding Legal Pitfalls in Leasing or Buying Real Estate 5:30pm-7:00pm, Oakland City Hall An experienced attorney will present an overview of potential legal issues that arts organizations may encounter in securing real estate. Non-profit status can complicate some real estate transactions; this series talk will help to clarify these issues. May 15: Artist Housing Opportunities in Oakland 5:30pm-7:00pm, Oakland City Hall Local real estate experts will explain the current market for artist housing and studio spaces to buy and lease. June 19: Arts and Community Development 5:30pm-7:00pm, Oakland City Hall The arts can create economic revitalization. Learn about Oakland programs and projects where artists, arts organizations and developers are building communities in their neighborhoods. Be a part of the discussion about how to encourage and develop these efforts. This six-month speaker series is a collaboration between the City of Oakland Craft & Cultural Arts Department and California Lawyers for the Arts. All workshops are free and designed to address the needs of artists, arts groups and arts organizations to find and secure space with and emphasis on affordability and sustainability. For more information on ArtHOUSE Oakland call 510-444-6358. To learn about California Lawyers for the Arts' arts law seminars, go to

Subject: [microsound] NWEAMO 2003 call for works

> >
Call for works
> > NWEAMO 2003: The Exploding Interactive Inevitable > NWEAMO's fifth annual international festival of > electro-acoustic music > October 3-5, 2003: Portland, Oregon (B-Complex) > October 10-12, 2003: San Diego, California (San > Diego State University) > > The Northwest Electro-Acoustic Music Organization > (NWEAMO) is > currently seeking audience-interactive > electro-acoustic works to > include in its 2003 festival, The Exploding > Interactive Inevitable. > These works must rely on some form of audience > participation to > complete their execution. Interaction may be > physical, intellectual, > sensory, and/or other type, and it may be achieved > through > technological, entirely human, or other means. Works > may be > representative of all styles and aesthetics, from > the classical > avant-garde to the fringes of experimental pop. To > facilitate > electronic interaction, NWEAMO will provide a > wireless access point > (802.11) with a connection to the Internet. > > NWEAMO also welcomes submissions of electro-acoustic > not involve audience interaction. However, all works > submitted for > consideration must feature a live performance > element. > > For the full version of this call for works and > further information > about NWEAMO and the 2003 festival, please visit > > > -- > Jill Teasley > NWEAMO Board Member >

Wednesday, February 19, 2003

Just a reminder that submissions for AETHER FEST are due by April 1, 2003. (see below) AETHER FEST is an international festival of experimental radio art, to be broadcast on KUNM-fm (Albuquerque, New Mexico, USA) throughout the month of June. There will also be a simultaneous gallery exhibit of visual art that is somehow related to the theme of radio (broadcasting, air waves, circuitry, communication, etc.) at the Harwood Art Center in Albuquerque. PLEASE SEND US YOUR SOUND & VISUAL WORK! For complete info on the festival and guidelines for submitting recorded or visual material, go to or e-mail Steve Peters at AETHER FEST is sponsored by Nonsequitur, KUNM, and Harwood Art Center. (pass it on...)

Monday, February 17, 2003

Not exactly a call for scores....

Subject: [BA-NEWMUS:8584] Arts Advocacy Day March 25-26/Arts Advocacy Toolkit from the Americans for the Arts website: The Arts Advocacy Day Conference will take place March 25-26, 2003 and will feature the 16th Annual Nancy Hanks Lecture on Arts and Public Policy and the national convening of Arts Advocacy Day 2003 on Capitol Hill in Washington, D.C. This past year, arts advocates succeeded in securing increased funding for both the National Endowments for the Arts and for the Humanities, as well as increased funding for arts education programs within the U.S. Department of Education. Arts Advocacy Day is strategically timed to give grassroots advocates the opportunity to shape federal arts policy and to educate Members of Congress. The 2002 elections and redistricting brought a new freshman class of House of Representative members who will need early educational visits from grassroots constituents about the importance of the arts and culture. Arts Advocacy Day is held in conjunction with the Congressional Arts Caucus and many Members of Congress will be involved in the day's events. Additionally, more than 60 national arts, humanities, educational, and civic organizations co-sponsor this event annually. For more information, call Americans for the Arts at 202.371.2830 or e-mail Arts Advocacy Toolkit Everything you need to help make the case for the arts & arts education including U.S. House of Rep & Senate contact info.

60 second tape piece

Please pass the following notice to any and all interested parties. Thank you for time and patience. Vox Novus is inviting composers to submit „signature‰ works 60 seconds in length. Sixty pieces will be selected to be performed continuously in a one-hour concert, in conjunction with multimedia elements and an analog clock marking the passage of time. Pieces may be less than 60 seconds in length. Since each piece will begin precisely at the beginning of the minute, you may wish to include a few seconds of silence at the beginning or end of your piece; remember that the total duration (including the silence) may not exceed sixty seconds. The call is open to American composers of any age. ("American" is defined as any citizen or permanent resident of North, South, or Central America). Works submitted must not have been previously performed or broadcast. CDs should bear the composer‚s name and the title of the work. Please include a bio (with residency/citizenship information), list of works, contact information, and program notes as well as a SASE if you want your materials returned (submissions received and not selected may be used in future performances). All submissions must be postmarked by July 15, 2003. Selected works will be announced in August. Works must be submitted on compact disc and sent to: 60 Seconds c/o Robert Voisey at Vox Novus Radio City Station P.O. Box 1607 New York, NY 10101 USA Deadline: July 15, 2003 Submissions must include: CD recording of a sixty-second electronic work, labeled with composer's name and title; brief composer biography (with residency/citizenship information); composer‚s list of works; brief program notes; and contact information (name, address, E-mail address) Works selected will be announced on August 15, 2003. Any questions regarding the call for works can be addressed to or you can visit Again, thank you for your time and patience, Robert Voisey
Starting next Monday, February 17 . . . Eddie Gale (Trumpet player and band leader. Has played with everyone from Max Roach and Sonny Stitt to Cecil Taylor and Sun Ra.) will be hosting open Jazz Improv Jam sessions every third Monday at 21 Grand . . . 449B  23rd St. (between Broadway & Telegraph) Oakland, CA 94612 . . .  510-444-7263 . . . All Welcome axe or no axe but if you got one bring it . . . A $5 donation to help defray expenses is requested but no one will be turned away for lack of funds.  This is a great opportunity to play with and meet fine Bay Area musicians . . . Come on out and join the jam!!!

Jim Ryan
550 24th St.  Ste 1014
Oakland, CA  94612

Subject: [BA-NEWMUS:8557] [Fwd: Engine 27 public call for sounds]

Public call for contributions towards the 50th Anniversary presentation of John Cage's Williams Mix Larry Austin's Williams [re]Mix[...stallation] to be presented at Engine 27, NYC in March 2003   Engine 27 and composer Larry Austin invite all composers, musicians and practitioners of electroacoustic and computer music, sonic art, New Music, New Media, and sound design to participate, via the web, in the Williams [re]Mix[...stallation]: a 50th Anniversary Celebration of John Cage's Williams Mix. Public call for sounds: city; country; electronic; manually produced; wind produced; small, which need to be amplified. Call ends midnight, March 16, 2003. Go to to upload your sound files, for more information and for a brief history of Williams Mix. Saturday, March 22, 2003, marks the 50th anniversary of the premiere performance of John Cage's Williams Mix (1951-53) for eight monaural magnetic tapes, the first octophonic tape music composition in the world, created and performed with eight speakers surrounding the audience. To celebrate this historic piece and its first performance 50 years ago, Austin will create the Williams [re]Mix[...stallation], a continuously performing octophonic sound installation to be installed at Engine 27, implemented with Austin's recently developed Williams [re]Mix[er] (1997-2001), an interactive I Ching composing program. The program, in operation, creates ever-newer versions and realizations of Cage's original work, calling on a recorded sound library of hundreds of sounds. The program's functionality is modeled on the compositional processes used by Cage to create his Williams Mix, these processes extrapolated and applied from Austin's analyses of Cage's 192-page score, his sketches, and the eight monaural, analog tapes for the piece. Since first starting the project, Austin has continued to collect sounds for the recorded library of sounds (ranging from 20 to 120 seconds each) according to Cage's six sound categories of city (A), country (B), electronic (C), manually produced (D), wind produced (E), and small sounds (F).   From February 14 to March 16, 2003, everyone is invited to upload soundfiles, via the web for inclusion in the library to be used during the new multiple Williams [re]Mix[ed] realizations to be played during the installation.   Guidelines for contributing sounds
  1. Sounds should be contributed as stereo, 44.1K, 16bit, aiff or wave format soundfiles.
  2. Sounds should be from 20 to 120 seconds in duration.
  3. Each soundfile sent should be labeled by the contributor and placed in the correct folder or directory according to Cage's categories of city (A), country (B), electronic (C), manually produced (D), wind produced (E), and/or small sounds, which need to be ampified (F) and include the author's name or 'tag' and a number signifying how many files you've contributed to the category. The contributor decides which category the sound(s) belong(s) in.
  4. Go to:
  Engine 27's Williams [re]Mix[...stallation] presentation dates: Saturday & Sunday, 2-8pm, March 22, 23, 29, 30 opening reception: Saturday, March 22, 6-8pm, address: 173 Franklin St. (btwn. Hudson & Greenwich) Much more information at Please forward this announcement to all who might be interested.

EAR UNIT composer residency.

[someone] found this on the site ============================ California E.A.R. Unit Composer Residency and Seminar at Arcosanti August 11-16th, 2003 Applications are now being accepted for the California EAR Unit Composer Residency and Seminar at Arcosanti, Meyer, Arizona August 11th-16th, 2003 Arcosanti is an "urban ecology" built by master architect Paolo Soleri and is a perfect blend of the esthetics of form and design with the grandeur of the Arizona mesa as its backdrop. The Colly Soleri Music Center offers a wonderful acoustic amphitheater for the week long course which involves rehearsals, recordings, master classes, lectures/discussions and culminates in a concert of composersC works on Saturday with a special pre-concert gourmet dinner. Works may be preexisting or written for the California EAR Unit for the Seminar. EAR Unit instrumentation is flute, clarinet, violin, cello, piano, percussion or may be smaller combinations of those instruments. Other instrumentation cannot be considered. To apply, send a representative score and tape (if available) and short biography or resumE= plus check for ten dollars (made to the California EAR Unit) to: Dorothy Stone - Artistic Director, California EAR Unit 40544 San Francisquito Canyon Road, Green Valley, CA 91390. E-Mail: Include SASE for return of materials. Applications will be accepted until May 1, 2003 and notice of acceptance will be made on or before May 15, 2003.

Monday, February 10, 2003

Call for Scores

Postmark deadline extended to April 30, 2003.

A Concert Series featuring contemporary San Francisco Bay Area composers is being planned. It is intended to provide exposure for the significant compositional work going on in the area. Vocal and instrumental works and a limited amount of electronic and tape assisted music will be included. It will be performed by the Worn Chamber Ensemble in San Francisco halls and other Bay Area venues.

First SCORE CALL is for a concert in early December 2003 for one or more works requiring no more than 15 minutes total performance time. Instrumentation will be one or more of the following: fl/picc, cl/bass cl,bsn/contr. bsn, tpt, perc(1), kbd ( pno & syn ), mezzo soprano, vla, vc, cb. Additional instruments at composers expense. Vocal works should be free of copyright issues. Postmark deadline extended to April 30, 2003. Please submit scores, tape(s), CD(s), resume with S.A.S.E. for return of materials to

Robert Arnold Hall 16162 Lilac Lane Los Gatos Ca 95032 408-358-2283

AETHER FEST #1: Festival of International Radio Art

June 1-29, 2003 at KUNM fm ^?Albuquerque, New Mexico USA Presented by KUNM, Nonsequitur, and Harwood Arts Center Artists and producers of all ages, nationalities and disciplines are invited to submit recorded works of experimental radio art (and visual art on the theme of radio) for possible inclusion in this juried broadcast festival/gallery exhibit. We seek work that challenges what radio is and does and explores what it might be and could do. ^?adio Art^?is here defined as a work made specifically for radio broadcast, with the intention of expanding the creative and aesthetic possibilities of the medium. Such works may or may not employ elements of other established genres such as radio theater, spoken word, performance art, h?iel, text-sound or sound poetry, electroacoustic music, soundscapes, documentary, talk show, etc. They might be ^?bout^?radio, subverting or exploiting the conventions and expectations of the medium; or, they might make use of the radio apparatus itself as instrument or content. Aether Fest will be broadcast on radio station KUNM 89.9 FM, located at the University of New Mexico in Albuquerque, New Mexico, USA (also webcast at Primary broadcast hours will be each Sunday night from 8:30 -11:30 during the month of June, 2003, with the possibility of adding other hours throughout the month. There will also be a concurrent exhibit of visual art related to the theme of radio (broadcasting, transmission, aether, communication, airwaves, disembodied voices, etc.) held throughout the month of June at the Harwood Art Center in Albuquerque; this will be juried by the HAC^? Visual Arts Committee. Artists may submit both audio and visual work, and are encouraged to do so if they work in both media.
Cash awards of $300 US will be given to each of three outstanding audio works selected by the jury.
Submission Guidelines
^?There are three general categories for submissions:
  1. recent work (made since 1998)
  2. older work (made before 1998)
  3. shorts (complete, unedited pieces of 5 minutes or less)
We are most interested in recent work, but will of course consider works created at any time (recorded works which have been released commercially are ok, too). ^?You may submit as many different works for consideration as you wish. Please specify if each work has been previously broadcast, or if this would be a premier. ^?The content of all works submitted must be completely original; straight adaptations of published texts or works which use previously released recordings of music or sound by other artists as a ^?oundtrack^?will not be accepted. (allowances will be made for creative use of sampling; if you have questions about this, contact us) ^?We prefer individual works that are 25 minutes or less, but longer works will be considered. (for long pieces, we suggest that you also include an edited version as an alternate choice) ^?CD, CD-R or DAT is preferred, but cassettes will also be accepted if the artist does not have access to digital recording media. ^?Send 3 copies of each work submitted (you may include more than one work per CD/tape; please use index points on CD or DAT, or clear silences separating pieces on cassette) ^?Please include biographical information, credits for all participants, and anything else you want us to know about the work (3 copies). It is a good idea to mention what qualifies the work as ^?adio art^?if that is not obvious. ^?For works in which text plays a major role, at least half of the text should be in English (we are flexible about this); however, works in other languages will be considered, especially if an understanding of the text is not crucial to the appreciation of the piece. Works without any spoken text are also acceptable. ^?Volunteers and Staff of KUNM may submit work to be considered for broadcast, but are not elligible to receive cash awards. ^?Sorry, we can not return your submitted materials. All recordings etc. received will be archived at KUNM and Nonsequitur.
^?We are seeking artwork (realist, abstract, conceptual, etc.) which somehow addresses the theme of radio. ^?Artists who are submitting audio work may also submit visual work. ^?You may submit as many different works for consideration as you wish. ^?Works may be two- or three-dimensional, in any media (sorry, no video). We will consider proposals for small-scale installations, but keep in mind that gallery space is limited. There is also a large space for sculpture outside, between the building and the street. ^?In the case of conceptual works which may or may not yet have been created, please send a clear written description of what you intend to do. If you have slides or photos of other relevant work, please include them. ^?Do not send original artwork! If your work is selected, we will contact you about shipping it. ^?Send clearly labeled slides or prints for each work you would like to submit for consideration. Include a separate sheet of paper with title, dimensions, materials, and year made for each work. Also include biographical information and a brief statement about the work. ^?If you wish to have your slides etc. returned, you must include a self-addressed stamped envelope. MATERIALS SUBMITTED WITHOUT SASE WILL NOT BE RETURNED! ^?There is no entry fee for this exhibit, however artists who are chosen to participate must pay for the cost of shipping their work to the gallery. The festival will pay for return shipping. ^?IMPORTANT NOTE: While the Harwood Art Center does not carry insurance for artwork, they do provide 24 hour video recording surveillance for the galleries as well as security patrols during off hours. Artists whose work is chosen will be asked to sign a release stating that the Harwood Art Center, Nonsequitur, and KUNM will not be held financially responsible for any damage or theft that may occur, either on the premises or in transit.
All audio and visual submissions must be received NO LATER THAN APRIL1, 2003. Send audio and visual submissions to: Aether Fest c/o Nonsequitur PO Box 344 Albuquerque, NM 87103 USA For more information, contact Steve Peters at Nonsequitur: tel/fax: 505-224-9483 e-mail: Information updates will also be posted at


The postmark deadline is Monday, February 17, 2003. EARPLAY announces the second annual Earplay Composers Competition. Composers of any age or nationality may submit works for one to seven performers, of any duration, selected from the following instruments:
  • Flute (Piccolo/Alto)
  • Clarinet (Bass Clarinet)
  • Oboe
  • Piano
  • Percussion
  • Violin
  • Viola
  • Cello
Works with electronics will also be considered. A prize of $500 will be awarded to the winning work, which will be performed during the 2003/2004 season. The winner will be announced in May. The judges reserve the right to not award a prize if no composition is deemed prize-worthy. All entries may be considered for performance. There is an entry fee of $25 for one score, or $20 per score if more than one is submitted. Please make check or money order payable to Earplay. The postmark deadline is Monday, February 17, 2003. Please send:
  • score(s) [anonymous]
  • recording(s) (CD, DAT, or cassette), if available [anonymous]
  • a sealed envelope containing an information sheet with the work©ˆs title, composer©ˆs name, address, telephone, and e-mail
  • entry fee
  • a self addressed stamped envelope for return of materials (international submissions cannot be returned)
Please send entries to: Earplay 2002 Composers Competition P.O Box 192125 San Francisco, CA 94119-2125 (415) 974-9300
Pittsburg New Media Ensemble chamber enesmble open call for scores no deadline listed
NYU New Music and Dance Ensmble Ongoing call for scores Tape w/ musical improvisation or soloist with tape
WGBH Boston seeks recordings of concert music for international distribution on Art of the States, a monthly program presenting contemporary music from the United States which is regularly broadcast in over 50 countries. Submit recordings in any format
Wahington Composers Forum is looking for calrinet duos deadline (receipt) March 1
Continuum in Ontario wants scores chamber music no deadline posted yet
One minute of Music! Deadline (receipt) 28th of Feb (in Ireland)
Wrong Note Media wants to publish scores (no deadline)
The New England Philharmonic Deadline March 31, 2003 (although the winner won't be announced until August!)

Friday, February 07, 2003

Compete for a chance to sing your favorite song on MTV with the artist who made it famous! MTV IS SEEKING YOUNG SINGERS AND MUSICIANS, MALE AND FEMALE. Want to jam on the drums with Travis and BLINK 182? Can you sing and play piano like VANESSA CARLTON? Or maybe sing like B2K or LIL' KIM? Audition in person OR send audition tape to: MTV Networks ATT: Duets 2600 Colorado Ave Santa Monica, CA 90404 PERFORMERS MUST BE OVER 18 AND LOOK 25 OR YOUNGER. FOR MORE INFORMATION CALL TOLL FREE ( 8 6 6 ) 4 8 8 - 9 2 8 8

Another call for scores

(this one might have an Esperanto angle)

Greetings from Singapore! ICMC2003 will take place in this Lion City from September 29 to October 4, 2003. The deadline for music and paper submissions is March 1, 2003.

While in the last century we had experienced the benefits of the narrowing of gaps in worldwide communication and the bringing together of world cultures, one of the unexpected results of the process was the creation of barriers. For some, the rapidly changing landscape presented too fast a change in well-established traditions and cultures, and they who live in these societies set up boundaries to stem the erosion of their way of life. Though there are valid reasons to believe so, it need not be the case, especially in music.

This year's conference theme, Boundaryless Music, celebrates music without barriers of cultures or genres, without the prejudices of the traditional or the contemporary perspective, without discrimination against the old or the young. We cannot totally remove all barriers, but we can make them more permeable to the flow of information, ideas, resources and energy. Celebrate an open and sharing environment, experiment with new processes and technologies, and cultivate new approaches to learning and teaching; all of which involve interconnected processes instead of isolated ideals. Boundaryless Music invites all to celebrate a common vision and an encompassing human spirit in music making.

Call for Music

ICMC 2003 invites music submissions of digital audio, interactive, multimedia and installation works for presentation in Singapore. Works related to the conference theme of Boundaryless Music are particularly encouraged, which might include multi-cultural interfaces, performance interfaces, spatial strategies or aesthetic approaches.

Performance forces include a piano/violin duo, chorus (SATB), and percussion ensemble as well as Chinese, Indian, and Gamelan ensembles.

Visit for more on the performance halls. The spaces available include the Theatre for afternoon concerts and the Hall for evening concerts. Installation works may reside in the foyers (2nd and 3rd floors).

Submission Formats Accepted

For Audio: CD, DVD, ADAT, DAT
Electronic submission of digital audio files (44.1 KHz 16bit format; aiff or wav) will be available. Please visit after January 26, 2003 for submission procedure.

For Audio/Video: VHS, SVHS, DVD

If the work is for instruments and digital audio, please include a score of the instrumental part, a recording of the electronics, and/or, a recording of a performance. For works involving live electronics, you may include documentation such as a software patch or description.

Music Papers: A music paper demonstration proposal about the ideas and techniques behind the composition may be submitted accompanying a music submission.

Send materials to:
ICMC2003 Music
Singapore Conservatory of Music
National University of Singapore
Blk ADM, Level 3
10 Kent Ridge Crescent

Call for Papers

ICMC 2003 invites paper, poster and demo submissions on artistic, musicological, scientific, educational and technological aspects of computer music. Submissions related to the conference theme, Boundaryless Music, are most welcomed. Also related to the conference theme is a special paper session titled, Education on Music and Technology, which welcomes contributions from all.

Electronic submission of papers will be available. Please visit after January 26, 2003 for submission procedure.

IMPORTANT: Please note that all submissions to this years conference should be photo-ready for publication. All papers should be submitted as postscript or pdf files. The names of authors should be reflected on the paper.

Send materials to:
ICMC2003 Papers
Singapore Conservatory of Music
National University of Singapore
Blk ADM, Level 3
10 Kent Ridge Crescent
Singapore 119260

Deadline (postmark) March 1, 2003
All materials MUST be received by March 7, 2003.

Website will be available at after January 26, 2003. Please send enquiries to



2003 Music in the Making: New Music Reading Session
Deadline: Friday, March 14, 2003 (in the office)
Complete Guidelines:

The Women's Philharmonic invites women composers with U.S. legal residence (no age limit) to submit orchestral compositions that have not yet been performed by a professional orchestra for our 16th annual Music in the Making: New Music Reading Session.

Up to four works will be selected anonymously by a panel of distinguished musicians for performance by The Women's Philharmonic in a reading session in San Francisco at the end of May 2003. Selected composers must attend the reading; an honorarium is available to help defray travel costs. Each selected composer will receive a professional orchestral reading, a professionally-engineered recording for non-commercial use, and feedback from conductors, musicians, and audience members.

Please consult guidelines at for required instrumentation and length, as well as application procedure.

The Women's Philharmonic
44 Page Street Suite #604D
San Francisco, CA 94102
Telephone: 415-437-0123
Fax: 415-437-0121

Music in the Making is made possible, in part, through the generous support of The San Francisco Arts Commission.