Process Festival Call for Proposals

PROCESS Festival Berlin is now accepting proposals for performances and new-media work, to be shown at our 2 day festival in mid-March 2010.

The Festival seeks to highlight new and compelling work in the field of generative or process music - focusing on sound pieces which are inspired by or emulate algorithms, biology, or other defined systems.

From scores generated from nature (Mamoru Fujieda's "Patterns of Plants") or mathematics (John Cage's "Sonatas and Interludes"), to interactives which allow users to create music (Brian Eno's Bloom for iPhone) or a system as simple as 2 tape recorders ("It's Gonna Rain" by Steve Reich), this space has enjoyed a compelling history.

As well as the traditional execution of code outputting music, we're also interested in projects which expand the definition or approach to this field. This could, for example, including hardware-based projects like custom instruments, more lo-fi, organic systems, or hybrids such as a string quartet playing a generative score.

Web-based new-media projects will be shown onsite via a Macbook with wireless connection, as well as linked via the festival website. Performances should be between 20 and 40 minutes long, to allow a diverse selection of pieces over the festival period.

We're unable to offer artist compensation or provide travel costs to the event, although composers outside of the Berlin area are encouraged to partner with local artists to perform works. Please contact us if you're interested in this avenue.

Please e-mail us with your name, short bio, contact details, type of work and a description of your project.

The ALEA III International Composition Prize

Theodore Antoniou, Music Director

2010 Twenty-Eighth Annual Competition

The ALEA III Prize: $2,500

Deadline: March 15, 2010

http://www.aleaiii.com

Composers of any nationality born after January 1, 1970 may participate.

Only one composition per composer is permitted.

No entry fee.

Works of any aesthetic direction from 6 - 15 minutes in duration may be submitted. Works may be for solo voice or instrument or for an ensemble up to fifteen players. Available instruments are: one flute (doubling piccolo or alto), one oboe (doubling English horn), one clarinet (doubling bass clarinet), one bassoon, one horn, one trumpet, one trombone, one tuba, two percussion players, one harp, one keyboard player, one guitar, two violins, one viola, one cello, one bass, tape and one voice.

One of the fifteen performers could play a traditional, folk, or rare instrument (solo or as a part of the ensemble), or could be an unusual specialized vocalist. Contact for more information

One work per composer. All works must be unpublished and must not have been publicly performed or broadcast in whole or in part or in any other version before the announcement of the Prize in late September, or early October 2010. Works that have won another award are not eligible.

Anonymous entry.

6 - 9 works will be selected for performance in Boston by ALEA III under the direction of Theodore Antoniou in late September, or early October 2010. At the end of the concert one piece will be selected to receive the $2,500.00 ALEA III prize. The judges reserve the right to divide the award money or to decline to make an award.

The judges will be prominent personalities residing or working in the Boston area. The panel, consisting of composers, performers, conductors, musicologists and educators, aims for a balance among a variety of musical approaches. For information and application form please check the ALEA III web site:http://www.aleaiii.com

or email to Alex Kalogeras kalogeras@earthlink.net

Application Form must accompany the score at the time of submission.

Cadillac Moon Ensemble "On the Road"

CALL FOR SCORES: Cadillac Moon Ensemble "On the Road"

Cadillac Moon Ensemble announces a call for scores for its upcoming season.

With its unique instrumentation of flute, violin, cello, and percussion, Cadillac Moon Ensemble is redefining a "quartet" of the traditional sense while maintaining the artistry of chamber music within the new music realm. CME is dedicated to premiering new works which explore the roles quartet members as well as extended techniques and innovative ideas in composition.

If selected, we will perform your piece in New York City in our 2010/2011 season.

Instrumentation: the concept of this call is for a New York-based ensemble traveling on the road, or even to a concert on the subway. We are looking for pieces for flute, violin, cello, and suitcase percussion.

All percussion instruments must fit into a suitcase. A list of instruments is as follows: two egg shakers, one 14" cymbal, two bongos, three cowbells, three wood blocks, one tambourine, one triangle, pair of claves.

*additional small instruments can be added to the percussion setup but must be the size of a hand or smaller. For approval on extra instruments contact danielle@cadillacmoonensemble.com

Timing: No shorter than six minutes, no longer than 30 minutes.

Please send a proposal including piece concept, length, percussion instrument list, and composer bio by January 15, 2010 to submissions@cadillacmoonensemble.com. If selected, your scores and parts will be due by March 15 in hard copy format.

We will announce our selections by January 22 on our website, and everyone who submits entries will be notified individually.

For questions regarding this call, write to us at info@cadillacmoonensemble.com, with "Suitcase Call" as the subject heading.

The 2010 Salvatore Martirano Memorial Composition Award

The University of Illinois School of Music presents
The 2010 Salvatore Martirano Memorial Composition Award

Eligibility: Any composer, regardless of age or nationality.

Awards: First Prize cash award of $1000 and second prize cash award of $500 plus performances by the University of Illinois New Music Ensemble in November of 2010 at the Krannert Center for the Performing Arts. Additional awards and performances may be given at the discretion of the judges.

Judges: A panel of judges consisting of University of Illinois music composition faculty members will select the winning compositions. The winning composers are expected to attend the award concert/reception and will be responsible for their transportation costs (the competition will provide a stipend for lodging). The winning composers will assume full responsibility for providing adequate performance materials upon request.

Guidelines:

• Medium: Full scores of any style or aesthetic direction for one to fifteen performers (including vocalists) may be submitted. Works for tape, electronics and/or mixed media with or without instruments/voices are eligible.
• Duration: 20 minutes maximum
• Limit: One entry per composer
• Entry fee: A non-refundable entry fee of fifteen U.S. dollars ($15.00) must be included with each submission. Payment must be in US Dollars in the form of a check, international money order or credit card (preferable). All checks and money orders must be payable to the University of Illinois, and must be drawn on a U.S. bank. Please make sure to print the credit card authorization form (clik here for form) and sign authorizing the use of the card for the amount specified, the type of card, card number, and expiration date (incomplete authorizations will be rejected).
• Anonymous Submission: The composer's name must not appear on the score itself or on any item (tape, CD, etc.) submitted in supplement to the application. A sealed envelope must accompany the score and contain the composer's name, address, telephone number/e-mail (if applicable) and a brief biographical sketch. If a recording of the work is available, it should accompany the score and be identified only by the title of the composition.
• Return of Materials: Scores will not be returned unless a self-addressed, stamped envelope of the proper size is enclosed.
• Previous winners and faculty and currently-enrolled students at the University of Illinois are ineligible for the competition.

Send submissions to:
2010 Martirano Composition Award
Attn: Zack Browning, Director, Martirano Award
2136 Music Building
University of Illinois
1114 West Nevada
Urbana, IL 61801
USA
zbrownin@illinois.edu
http://camil.music.uiuc.edu/CompTheory/Awards/Martirano.html

All submissions must be postmarked by March 15, 2010

Call for Electroacoustic Works

Synesthesia Recordings is pleased to announce a call for electroacoustic works, 2009.

All presented music works should fit one of the following categories.

1. Works for recorded media alone
2. Works for recorded media and instrumental solo

Deadline: October 31, 2009

For more information visit: submissions@synesthesiarecordings.com

A pdf of the application is available at: http://www.synesthesiarecordings.com/docs/Call_for_electroacoustic_works_2009.pdf

Works should be produced using any conceivable analog device processing tools (pedals, no input mixers, analog synthesizers, custom built devices). The use of computer or any digital device (except a DAW for the tracking/mixing) is not allowed.

Call for Electornic Sound Works for Zeppelin 2009

We dedicate Zeppelin 2009 – Sounds of Power / Listening to Fear to thinking about issues that have been insidiously encircling us for some time. We are concerned about signs that might suggest we’re going backwards in terms of hard-won social and intellectual achievements and freedoms. . . .

We invite people interested in sound to think about these questions and send us their sound works. The pieces will be played through a system of eight loudspeakers on 10, 11 and 12 December 2009 at the Barcelona Centre for Contemporary Culture.

TERMS AND CONDITIONS

All works received will be accepted provided they meet the following conditions:

1. Pieces should be NO LONGER than ten (10) minutes.

2. The format for the pieces should be WAV or AIFF at 44.1 kHz and 16 bits. Pieces may have up to eight tracks. Each track should be in a separate file (so a piece with eight tracks should have eight files each containing a single track).

3. The following documentation should be included: 3.1. Comments on the piece. 3.2. An artistic biography of the author. 3.3. A document signed by the author either giving or refusing explicit authorisation for the piece to be posted on the internet. 3.4. A document signed by the author giving authorisation for the piece to form part of the Sonoscop sound art archive.

4. The pieces and documentation should be sent on a CD/DVD by 15 November 2009 to:

caos/ZEPPELIN/convocatòria Centre de Cultura Contemporània de Barcelona C/Montalegre, 5 Barcelona 08001 Spain

For more information, please visit http://www.sonoscop.net or write to caos@sonoscop.net

Read More . . .

Futura 2010 Call for works

For its 2010 edition, the Futura festival is looking for fixed media works (acousmatic music, musique concrète, video art, hörspiel, etc.) around the ‘travel diary’ thematic.

The sent works may be ‘real’ diaries, elaborated with sound takes and/or recognizable images, but these diaries may also be ‘abstract’, without any identifiable sounds, concentrating only on remaining traces, impressions. The works evolving between these two poles are also, indeed, welcome.

It is all about drawing a large and original view of the ‘travel diary’, which is not only a journey in a geographical space, but rather the expression of an experience or a view on the surrounding world. As such, it is not absolutely necessary to have crossed back and forth the whole planet to submit a proposal, obviously travels are also metaphoric. It can be expressed through very diverse aesthetics and forms.

Nonetheless, we are not looking for ‘raw’, ‘objective’ soundscapes or field-recordings. To the contrary, we would like to program subjective works, and place at the centre of this thematic the perception of the traveller-composer-artist.

The submissions:

- The limited number of submissions is 2 works by composer, excepting works with video which amount is not limited.

- Only sonic works on tape medium should be submitted (acousmatic/concrète, radiophonic art…). Please do not send proposals for live electronics or performances.

- Preference is given to stereophonic music (multiphonic works may be accepted, but always if a stereo mix is provided for the selection process).

- Works including video are also encouraged.

-Deadline for the reception of works on CD Audio only (no cd-r or DVD-Audio) or DVD (for videos) is fixed before January 31 2010 (post-marked). At the following address: Futura, 62, avenue de Flandre F-75019 Paris, France.

Read more . . .

The ASCAP/SEAMUS Student Commission

The Society for Electro-Acoustic Music in the United States (SEAMUS) is pleased to announce the 2010 ASCAP/SEAMUS Student Composer Commissioning Program.

The ASCAP/SEAMUS Student Commissioning program commissions new electro-acoustic compositions from student composers. The purpose of this program is to stimulate student participation in SEAMUS activities, and to encourage young composers to pursue creative endeavors in electro-acoustic music. The program is administered by SEAMUS and funded by Frances Richard and the American Society for Composers, Authors and Publishers (ASCAP).

Eligibility You must be a student currently enrolled in an academic course of study that leads to a high school diploma, or baccalaureate, masters, or doctoral degree in music or electro-acoustic music, or a program that includes electro-acoustic music and related fields. This competition is open to student members of SEAMUS who are United States citizens or legal residents of the United States and students enrolled in an academic course of study within the United States.

Deadline Applications must be postmarked by October 15, 2009

Read more . . .

Announcing 2009 Jerome Composer Commission Program details

Application deadline: Saturday, August 1, 2009 (postmark)

The Jerome Composers Commissioning Program (JCCP) supports the creation of new musical works by emerging composers, composer/performers, improvisers and sound artists. JCCP helps towards the cost of the creator's commissioning fee. A composer applies in conjunction with a performing organization (which may be any soloist or group, not necessarily a non-profit organization). Alternatively, composer/performer/improvisers who play in their own work apply in conjunction with a venue or presenter (e.g., school, theater, gallery, festival, etc.).

JCCP welcomes applications in all musical genres, including jazz, experimental, classical, improvisation, sound-art and international styles, and seeks to expand new-music culture beyond the traditional settings.

Composers residing in Minnesota or in the five boroughs of New York City may apply with performers based anywhere in the world. Composers residing elsewhere must work with Minnesota-based partners and present the work in Minnesota. Similar geographic restrictions apply for composer/performers applying in conjunction with a presenter. All applicants may also consider forming a consortium to include Minnesota participants.

JCCP guidelines and application form are available at http://www.composersforum.org/programs_detail.cfm?oid=11461&section=commissions

For more information about this program contact Craig Carnahan
651.251.2833 (p)

This program is funded by a generous gift from the Jerome Foundation.

Daegu Contemporary Music Orchestra 2009 International Calling For Contemporary Music Score

1. The purpose of the competition is to encourage Calling For Contemporary Music Score to the growth and excellence of contemporary music.
2. Competition is open to composers of all ages and nationalities.

3. The required composition is a work for the whole ensemble as follows : 1 flute / 1 oboe / 1 clarinet in Bb / 1 basson / 2 horn / 1 trumpet in Bb 1 trombone / 2 Timpani and strings (8 - 6 -6 - 4 - 2)

   The following instruments can be used in addition : 1 piano, and/or 1 voice.

4. the duration of the work must be stated on the score and be from 10 to 15 minutes.

5. there is no entry fee.

   send 6 copies (will not be returned) Only one entry per person will be accepted.

6. The composition must be unpublished, never have been performed or broadcast in public nor have been awarded a prize under its present or other title.
7. Deadline : score must be received by 20,August,2009. ( we can not accept at the post-mark 20,August,2009.) -We accept by e-mail also condczoj@hanmail.net.
8. the works will be selected for a performance in the Autumn 2009 winners concert at Daegu. winners receive CD recordings of the concert The selected works will not be paid : as award or money.
9. Results will be announced by 31th. August, 2009
10. The judges reserve the right not to select and perform a work if no composition is deemed selection - and performance - worthy.
11. The material for the performance of the selected composition must be sent to the Daegu contemporary music orchestra(DCMO) by 20,August,2009 and must be available for the ensemble free of charge.
12. The judges will screen the submitted scores and select up to six works to be performed at the final concert given by the DCMO.
13. The jury will especially take into consideration the artistic qualities of the composition and will not consider the pieces that require enormous technical skills.
14. Any material from the selected compositions (score, parts and copies) remain property of DCMO and will not be returned.

Sincerely!
Daegu Contemporary Music Orchestra
since 1996/
International Calling For Contemporary Music Score
since 2003

Welcome Christmas Carol Contest

Since 1998, ACF has partnered with Minneapolis-based VocalEssence

on the annual Welcome Christmas Carol Contest. Each year the contest seeks new carols for chorus with a variety of instrumental accompaniments. This year’s call is for carols scored for mixed chorus and viola.

Two composers are selected annually as the winners of the competition. They receive a $1000 prize and their carols are premiered at the VocalEssence Welcome Christmas concerts in December. These concerts have been recorded for regional broadcast on the network stations of Minnesota Public Radio (MPR), and distributed nationally by American Public Media.

The application deadline for this year’s competition is August 21, 2009 (postmark). Eligibility: Composers of all ages whose permanent residence is North America.

Complete competition guidelines, program description and the application form are available at http://www.composersforum.org/programs_detail.cfm?oid=11287&section=performances

See also:

www.vocalessence.org

For more information about this program contact Craig Carnahan.

ccarnahan@composersforum.org

(p) 651.251.2833

Call for soprano and violin music

Hope Wechkin and Washington Composers Forum present a call for scores for soprano and violin (one performer). Chosen music will be performed on a concert in Seattle with date TBA.

ABOUT THE PERFORMER

Hope Wechkin is best known to Seattle audiences for innovative and virtuosic pairings of the voice and violin. Her recent show Charisma featured such a pairing, and was presented at ACT Theatre. A well-known interpreter of contemporary vocal literature, she has premiered many works by Northwest composers and is the soprano soloist with Affinity. In 2006 she performed George Crumb's Ancient Voices of Children for Seattle Symphony's Made in America festival, and she has appeared with the Contemporary Opera Lab in Winnipeg, Canada. She has also appeared as a soloist with The Esoterics, the Pacific Chamber Ensemble, the Northwest Chorale, and others. A graduate of Yale University and the University of Washington School of Medicine, Ms. Wechkin has studied with Thomasa Eckert, Marianne Weltmann, and Nancy Zylstra in Seattle, and with Josephine Mongiardo in New York.

ELIGIBILITY The call is open to the general public.

SUBMISSION Composers may submit multiple scores for soprano and violin (one performer). Scores may be of any duration. Previously performed works are welcome, but the performance history of the work must be included. The performer will adjudicate the call, and may choose not to perform any of the submissions. Submission packets must be received by May 4, 2009 and contain the following: 1) Performing score(s). Duration and page numbers must be clearly indicated. Scores must be marked with a pseudonym. 2) Contact information envelope containing name, address, phone number, email address and pseudonym. To have materials returned, include a self-addressed stamped envelope.

If the submission is expedited, please do not require a signature for delivery. Otherwise, the submission may be held up.

For more information contact WCF.

Send submissions to: Soprano and Violin Submissions

Washington Composers Forum

6114 12th Avenue NE Seattle WA 98115-6704 USA

The Esoterics announces 2009-2010 POLYPHONOS Competition

The Esoterics announces 2009-2010 POLYPHONOS Competition (Reminder)

The Esoterics announces an international call for a cappella choral scores - its annual competition for choral composition, POLYPHONOS, from the Greek πολυφωνος, having many voices or manifold in expression.

The purpose of The Esoterics' POLYPHONOS is to encourage today's choral composers to broaden the scope of the a cappella choral repertory by setting sacred and poetical texts found beyond the Western classical canon in order to create a repertoire of choral concert music that reflects the universal beauty and power of unaccompanied voices joined in song.

There will be up to three POLYPHONOS awards, and each winning composer will receive a commission from The Esoterics to plan and compose a new choral work that will be premiered by the ensemble in 2010. In addition to this commission, each of the winning composers will receive $1000 US plus airfare and accommodations to attend the Seattle premiere of their commissioned work.

Entry form, portfolio requirements and complete rules can be found at www.theesoterics.org/polyphonos

All applications must be complete and received by 15 May 2009
(Less than a month away!)
The winners of The Esoterics' POLYPHONOS will be announced on 1 July 2009

For questions, please contact polyphonos@TheEsoterics.org

PS - In our October 2009 concert MYSTERIUM, the Esoterics will premier the POLYPHONOS commissions of the 2008-2009 winners - Shawn Brogan Allison, Eduardo Andrés Malachevsky, and Nilo Alcala.

Electroacoustic Audio-visual Music

CALL FOR WORKS

Electroacoustic Audio-visual Music

Submission Deadline: 20th February 2009 (postmark)

This is a call for fixed media electroacoustic audio-visual music works exploring the interaction between sound and image. Works should be cohesive audio-visual entities and not just video/film with a soundtrack or music with a video/film track. The audio within these works should be electroacoustic in nature.

Works are requested for a PhD research project investigating audience reception of differing styles of audio-visual composition and the role of composer intention in facilitating audience reception of electroacoustic audio-visual music works. This research builds upon the foundations laid by Leigh Landy and Rob Weale through the Intention/Reception Project (Weale 2006) (Landy 2006).

Works will be presented to a series of audience groups who will then complete questionnaires and discuss their reception of each of the presented works. Results from these tests will then be analysed in order to discover any trends that exist between the different audience groups.

It is hoped that this analysis will form a useful resource for composers of electroacoustic audio-visual music works providing key information on how audiences perceive and receive their works. The research will also provide fruitful information concerning the accessibility of these types of works.

KEY REQUIREMENTS

• In this phase of the project, submissions must be fixed media works (as opposed to 'live' performance based works).
• Works must have stereo audio and be for single screen.
• The duration of submitted works should be no longer than 8 minutes due to testing practicalities or, alternatively, a well-defined self-contained section of the work lasting no longer than 8 minutes can be identified within the entire work.
• Composers must be willing to complete a 'Composer Intention Questionnaire' outlining dramaturgic information relating to each submitted work.
• The composer should own all rights to the submitted works and provide the researcher with the right to include selected works as part of future scholarly publications of the research.
• Multiple works may be submitted.

NB: Works of high reputation may be rejected for testing due to issues of familiarity.

SUBMISSION GUIDELINES

All submissions must consist of the following:

1. DVD containing the work to be considered (PAL or NTSC format) and or QTM file. Works should have stereo audio and be for single screen.
2. Programme notes (please include duration, year of creation and a list of previous performances).
3. Composer biography.
4. Contact information: email, postal address and telephone.

All requested information must be provided in order for the work to be considered.

DEADLINE

Only submissions received by (or postmarked) Friday 20th February 2009 will be considered.

Composers of selected compositions will be notified by 31st of March at the latest.

A 'Composer Intention questionnaire' will be dispatched to the appropriate contact address for completion by the composers of selected works. Failure to complete a copy of the questionnaire for a selected work will prevent the work from being used in the study.

Please send hard-copy materials to:

Andrew Hill
C/o Simon Smith
Music, Technology and Innovation Research Centre
0.19 Clephan Building
De Montfort University
Leicester
LE1 9BH,
UNITED KINGDOM

Many thanks for your interest.

References

Weale, R. (2006) Discovering How Accessible Electroacoustic Music Can Be: the Intention/Reception Project. Organised Sound 11/2: 189-200.

Landy, L. (2006) "The Intention/Reception Project" in Mary Simoni, ed. Analytical Methods of Electroacoustic Music. Routledge (New York) pp. 29-53 + appendix on DVD.

Call for audiovisual works - EAR-plugged Festival at The LAB, 26-28 Feb 2009

The Table:

A pedestal for eating, a stone platform, a playing board, of marble, of wood, of metal, round or semicircular, as a work place, for serving tea, for dining, a joinery piece, a place to pursue the arts of writing and painting, folding leaves, a night table, Tabula rasa (starting with a clean slate)...

EAR are looking for audio visual compositions that respond creatively to the idea of The Table. The selected works will be shown in a screening, as part of the EAR-plugged Festival, February 26-28, At The LAB, Foley Street, Dublin, Ireland.

Submission guidelines:

• Works can be up to 10 minutes in duration.
• Works should be submitted in DV format, either on DV or MiniDV tape, or as .avi or .mov file on data DVD.

The submission deadline is Fri 23rd Jan 2009

Entries must include:

• 1/ Full Contact Details (name, address and email)
• 2/ Short Bio (max. 50 words)
• 3/ Short Description of the Work (max. 50 words)
• 4/ 2 jpeg images (high resolution)
• 5/ A self addressed stamped envelope if you would like the work returned.

Please send works to:

EAR
Audiovisual Call
3 Radcliffe
Binn Eadair View
Dublin 13
Ireland

Open Call for Scores from the Red Note Ensemble

NOISY NIGHTS @ the Traverse, Edinburgh starting Feb 23rd

Noisy Nights are the Traverse's new music nights - performed by the newly-formed professional Red Note Ensemble.

The first Noisy Night is in the Bar of the Traverse Theatre on Monday 23rd Feb 2009. A general call for scores, maximum length 5 minutes each, instrumentation Vn / Cl (BCl) / Trb / Vibes is made. Tape parts can be accommodated. Full scores and parts (hard copies or pdf via email) to john@seventhings.co.uk (address below) by Monday 9th February at the very latest. Late submissions will not be considered for performance.

The performers will be the Red Note ensemble. Noisy Nights are supported by Seven Things, the Traverse Theatre, SAC and the PRS Foundation.

The next Noisy Night will be Monday 20th April (Call for: Fl (AFl) / Tpt / Vc, submission date Monday 6th April)

John Harris and Robert Irvine (co-artistic directors)
Red Note Ensemble
c/o Seven Things
ETTC, King's Buildings
Edinburgh
EH9 3JL
UK