22nd Annual Salvatore Martirano Memorial Composition Award

The University of Illinois School of Music and Global Crossroads Living-Learning Community celebrate the 22nd Annual Salvatore Martirano Memorial Composition Award by announcing the 2018 Award Competition

The 2018 Salvatore Martirano Memorial Composition Award


Eligibility: Any composer, regardless of age or nationality is eligible. Previous winners, faculty, and currently-enrolled students at the University of Illinois are ineligible for the competition.


Awards: First Prize cash award of $1000 and second prize cash award of $500 plus performances by the Illinois Modern Ensemble in the fall of 2018 on the 22nd Annual Martirano Award Concert at the Krannert Center for the Performing Arts on the campus of the University of Illinois. Additional awards and performances may be given at the discretion of the judges.


Judges: A panel of judges consisting of international composers and University of Illinois music composition faculty members will select the winning compositions. The winning composers are expected to attend the 22nd annual award concert and reception, and will be responsible for their transportation costs (the competition will provide lodging and some meals). The winning composers will assume full responsibility for providing adequate performance materials upon request.


Guidelines:

1. Medium: Full scores of any style or aesthetic direction for 1-15 performers (including vocalists) may be submitted. Works for electronics and/or mixed media (including video), with or without instruments and voices, are eligible.

2. Duration: 20 minutes maximum

3. Limit: One entry per composer

4. Entry fee: A non-refundable entry fee of twenty US dollars (20.00 USD) is paid online at the time of submission. All major credit cards are accepted.

5. Anonymous Submission: The composer's name must not appear on the score or in any accompanying materials submitted online.

Entries must be submitted and paid for online by Monday, April 16, 2018 11:59PM CST (23:59 GMT-0600).



For more information and to submit scores go to:

https://music.illinois.edu/martirano-award


For questions:

zbrownin@illinois.edu

National Student Electronic Music Event

In its seventh year, the National Student Electronic Music Event solicits works for its annual conference on March 9-10, 2018 at the University of North Texas in Denton, Texas. Our guest artist for the festival will be Carla Scaletti.

Composers currently enrolled as graduate or undergraduate students in a United States college or university are invited to submit works in the following categories:

1. Music/Multimedia Works
2. Papers/Technical Demostrations
3. Audio/Video Installations

Submission deadline: December 15, 2017 11:59pm

Entry and Registration Fee: None

Individuals may submit only one work in each category:

1. Music

• Electroacoustic music for fixed media, with up to 28 channels of audio.
• Works combining musical instruments or voice with electronics.
• Works for electronic instruments.
• Video and multimedia works.

Works in progress will be considered if a substantial part of the work is complete. The accepted works cannot exceed the duration indicated at the time of submission, and the final version cannot be substantially different from the versions submitted.

For the selection process, multichannel works must be submitted as stereo mixes.

Works for instruments and electronics may be considered for performance by the Nova ensemble (UNT's new music ensemble), although composer provided performers are encouraged. Works of any length may be submitted, but for practical reasons, works up to 12 minutes in duration will be more easily accommodated.

2. Papers/Presentations

We seek paper presentations or technical demostrations on topics related to the field of electroacoustic music. Please submit an abstract for consideration. Paper presentations are limited to 20 minutes, including Q&A.

3. Sound Installations

We seek sound installations to be presented in one of the CEMI studios for the duration of the conference. Basic video projection and sound reinforcement will be provided. Artists will be responsible for bringing all other necessary equipment.

Submission Information

Please submit works and papers for consideration to our submission form by Friday, December 15th at 11:59 P.M. Submissions after this time will not be considered.

Notifications of accepted works and papers will be sent by mid January and posted online to the conference website and Facebook page.

Questions may be directed to cemistaff@gmail.com

2nd Annual Call for Scores / New Mexico Contemporary Ensemble

The New Mexico Contemporary Ensemble announces the second edition of its call for scores for composers of contemporary chamber music. Submissions are restricted to composers who originate from North, Central, and South America or reside in one of these regions. Chosen selections will be performed by the New Mexico Contemporary Ensemble during the summer of 2018. For more information about NMCE, please visit www.nmcontemporaryensemble.weebly.com.
Composers must submit:
- CV (PDF preferred)
- A work of chamber music written 2015 or later for an ensemble of three players or more. Compositions may include electronics. Inclusion of a score (PDF only) is required. Recordings are requested, but not required.
Rules and Regulations:
- Eligible composers include any citizen originating from or residing in North, Central or South America.
- There is no age limit.
- There is a $10 submission fee for participating in this competition. Fees will be used to cover administrative costs related to processing the materials.
- The deadline for this submission is December 1st, 2017.
Results:
- Final selections will be made by the ensemble and its group of advisors.
- Applicants will be notified via e-mail of the results by February 1st, 2018.
- A $400 commission will be awarded to the selected composer. The commissioned work will be performed during the 2018 season of the New Mexico Contemporary Ensemble.
Questions, correspondence and submissions should be made electronically to: contemporarynm@gmail.com.

Call for scores-Madeleine Shapiro/NewMusicMannes

NewMusicMannes, Madeleine Shapiro, director

A call for scores for a concert taking place at Mannes College of Music, The New School, NYC in May 2018.

I am interested in unconducted chamber works with live computer processing for 3-5 performers.

I would prefer works for mixed ensemble, but string quartets are OK.

Deadline:  December 20, 2017 (give or take a few days)

A score and some sort of recording, links or attachments, can be sent to me at shapirm@newschool.edu.

questions? shapirm@newschool.edu

Tilde: Calls for 2019 Festival

Calls for Expressions of Interest in the 2019 festival are NOW OPEN and close on Friday 1st December 2017 at 11:59PM AEST

Please read the information below before submitting an application, and contact us with any questions. The 2019 Festival is scheduled for Saturday January 19th, 2019.

• Calls are open for the following:
  • Projects and performances including notated music, improvisation, installations, and electroacoustic performance. Tilde particularly welcomes submissions featuring solo and ensemble repertoire; female, trans, intersex, and non-binary composers and sound artists; and site-specific works. APPLY HERE
  • Opening Soon Collaborative projects. Artists submit their interest in participating in a collaboration with other festival artists. Groups meet in the weeks leading up to the festival to prepare a 10-minute site-specific performance.
  • Opening Soon Fixed Media works to be presented at the festival in the sound installation.
• Tilde New Music Festival is hosted at Testing Grounds in Southbank, Melbourne. This is a unique space and we reccommend checking it out before you before submitting your EOI.
  • Testing Grounds
  • Facilities
  • 360 Walkthrough
• Please contact us if you need help tracking down resources for your project.
• What we look for from EOIs:
  • Experience of practitioner;
  • Aesthetic and ideological suitability (see below);
  • Logistics: can we support the project?
• Aesthetic considerations: Tilde promotes contemporary (new – art music), exploratory and experimental music. Our program usually consists of contemporary composers (Australian and international - focusing on Australasia, nothing written before 1969*), electroacoustic performance, improvisation in a free or post-classical style (i.e. not jazz), and inter-disciplinary collaboration (previously we have had dancers, painters, animators, and performance artists). We also have an installation featuring sound art/electronic and computer music.
• International and Interstate Applicants: while we welcome EOIs from international applicants, please be aware that we have no funding to support travel. We will write letters of support for applicants to apply for funding to travel from other states in Australia, and internationally, and will help to find cheap or couch-surfing-style accommodation from our network here in Melbourne.

*Unless programming older but little-heard works

Music by Women Festival: Call for Scores

Deadline: Friday, November 17, 2017 at 11:59 p.m. CT

The Program Committee for the second annual Music by Women Festival welcomes submissions of original compositions from independent musicians, current and retired academics, and undergraduate and graduate students for performances at concerts throughout the festival. The festival will accept submissions for solo instruments, instruments with piano accompaniment, as well as works for small chamber ensembles. This call is open to women composers of any age, geographical location and stage in their professional career.  Preference will be given to works under 15 minutes in duration.The list of performers provided by the festival to perform new works in response to the call for scores is listed by instrument under the “Performers” tab of this website: http://www.muw.edu/musicbywomen/performers.
A maximum submission of two compositions per person is allowed. Composers must be willing to attend either day of the conference and, upon proposal acceptance, are required to register as a participant no later than January 12, 2018. Performers who are only performing new works by the composers in response to this call are not required to register for the festival and are welcome to attend all other festival events.
Please note that the Music by Women Festival is unable to fund travel expenses of composers or performers.  Please also note that the festival is not able program works for prepared piano and/or using extended piano techniques.
All submissions must meet the following requirements:

1. Must contain a short abstract describing the work (no more than 250 words). It must indicate if the composer is able to provide performers.
2. Must specify the exact duration of the composition and instrumentation
3. Must contain a PDF file of the composition and a sound recording (MP3 or MIDI files only).
4. Must not contain any identifying information in the abstract, composition title, or sound file, as proposals will be reviewed through a blind review process.
5. Must contain a composer biography of no more than 250 words.  If the performer is provided by the composer, please provide the performer biography (of no more than 250 words per individual) in the “Biography of co-presenters & collaborators” text box.

Timeline: composers will be notified of acceptance by December 15, 2017 and will have until January 12, 2018 to confirm participation by registering for the festival.

Submit here: http://www.muw.edu/musicbywomen/submissions

2018 Female Band Composition Competition Information

Call for Compositions

We are excited to announce the call for scores for the 2018 Female Band Composition Competition. We are looking for band works that are approximately Grade Three level. The aim is to support works that appeal to a wide array of abilities and tastes. Please see below for all of the details.

The Composition

1)  Submissions must:

        · be composed by someone who self-identifies as a female composer

        · be an original, unpublished composition for band.

        · be no more than 10 minutes in duration.

        · be approximately a difficulty level of Grade 3 (based on the 1-6 grade level system).

        · have been written within 5 years of the deadline.

2)  Submissions will only be accepted electronically and must include a .pdf score, a recording (mp3, AAC, .wav, .aiff, etc.) and a completed entry form. While applicants are encouraged to send actual recordings, MIDI realizations will be accepted. PLEASE COMPRESS ALL AUDIO FILES SENT SO AS TO MINIMIZE FILE SIZE.

3) Scores must not include the composer’s name, in order to facilitate blind judging.

4) Composers may re-submit non-winning compositions from this or other competitions. However, once a work has been awarded a prize in any competition, it may not be submitted again.

5)  Concertos or solos/ensembles with band accompaniments are not acceptable.

6)  The maximum instrumentation is as follows:

        · Flute (div. in a maximum of 2) + Piccolo*

        · Clarinet (div. in a maximum of 3) + bass clarinet*

        · Oboe* (2  parts)

        · Saxophone: Alto (div. in a maximum of 2), Tenor, Baritone*

        · Bassoon* (1 part)

        · Trumpet (div. in a maximum of 3)

        · Horn* (div. in a maximum of 2)

        · Trombone (div. in a maximum of 3)

        · Euphonium (1 part B.C. & transposed for T.C.)

        · Tuba

        · Double Bass

        · Percussion in 4 parts (maximum 2 mallet instruments) + Timpani

        

   * N.B.: Solos written for instruments marked (*) should be cross-cued in other instruments.

   

The Competition Rules

1)  Shannon Shaker (ASU)  will oversee the competition.

2)  Submissions will be accepted from individuals who self-identify as female.

3)  The deadline to submit is 5:00 pm MST on December 1st, 2017

4)  The composer of the winning composition will receive a travel stipend of up to  $1,000 to attend a rehearsal and the premiere of the piece.

5)  All copyright, mechanical rights, and royalty rights remain with the composer.

6)  The winner will be announced by email; notification will be sent to all applicants and panel membership, and results will be posted on the Kappa Kappa Psi - Beta Omicron website: www.kkpsibo.net.

7)  The decision of the jury will be final.

8) Members of the jury will receive a score and set of parts of the winning composition.

9) The piece will be premiered by Arizona State University's Concert Band, conducted by Shannon Shaker on Monday, April 23, 2018 at Gammage Auditorium in Tempe, AZ. It is the hope of the competition that the winning composer will be able to attend a rehearsal and this performance.

To ask questions about the competition, contact Shannon Shaker at: sshaker@asu.edu.

​

The Sponsor

Kappa Kappa Psi, Beta Omicron is sponsoring this project. For information on how to be involved, including donating to the project, contact Aliyah Qualls at: betaomicronpres@kkpsi.org

For all additional questions, please contact Shannon Shaker at: sshaker@asu.edu

Submission Guidelines

Complete the following google form to submit your entry

https://goo.gl/forms/bCCH9vgpVFrC4Zvm2

2) Email a .pdf of your score (name omitted) and audio file to Shannon Shaker at: sshaker@asu.edu

*The deadline to submit is 5:00 pm MST on December 1st, 2017

Call for Works - Interactive Traces

The Interdisciplinary Centre for Composition and Technology (ICCaT) and the music department at the University of Liverpool present a concert of digitally-mediated works and improvisations as part of the annual Open Circuit Festival.
For this concert, we invite submissions for dynamic audiovisual scores that guide the production of sound & music on acoustic instruments. The score should include one or more of the following qualities:

• consists of digital visual media
• allows for some degree of performer agency
• is made visible to the audience
• includes the audience
• employs game-like elements and/or goals

Additionally, the work should be reasonably playable by performers of various skill levels; works will be performed in an evening concert as well as in a workshop for secondary school musicians.
Instrumentation is open and ideally indeterminate. Some specific instrumentation is available, including clarinet, saxophone, cello, and guitar. If the work is written specifically for another instrument, the composer is responsible for arranging the performances of the work.
Selected works will be performed and the audience will have a chance to vote for their favourite piece. The piece with the most votes will receive a prize of £150.
Works may be submitted via this link or in one or a combination of the following formats:

• Video of screen capture and/or performance (YouTube or Vimeo preferred)
• Standalone software for MacOS or Windows
• PDF documents (score, instructions)

Submissions will be evaluated anonymously. The deadline to submit is January 8, 2018.

Call for works: 'Animated Scores' for string quartet.

Craig Vear ( http://composersedition.com/composers/craigvear ) and the Ligeti Quartet ( https://ligetiquartet.com ) are seeking digital scoring systems that might be described as 'animated' for workshop and performance in the UK, early 2018.

Animated scores are primarily visual-based scoring systems that shift/mutate/change/adapt/generate/co-operate through time. The scoring language might include instructions, symbols, graphics, images that are pre-recorded or are generated in real-time. Above all, they invite the musician into a co-operative relationship through the flow of music performance.

TO SUBMIT AN EXPRESSION OF INTEREST COMPLETE THE FOLLOWING FORM:

https://goo.gl/forms/vKtDDCzE0kTweq033  

DEADLINE 1st December 2017

Background

    The Living Score project investigates how digital technology is transforming the music score: from animated and graphical scores, to mixed-media, and networks of distributed code; from artificial intelligence (AI), thinking machines and hacked-bodies, there is a broad wealth of innovation offered to musicians through these systems. 

    The Living Score is a pilot investigation into the theoretical and philosophical implications in the co-operative relationship between musician and digital score. Further, it seeks to understand the shifting nature of creativity these systems offer musicians: performers and composers. 

    This project is funded by Leverhulme/ British Academy small grant. We can not guarantee that we can support all submissions. There are no funds to cover any associated costs beyond the technical support and resources at DMU and the involvement of Ligeti Quartet.

CALL FOR SCORES RISUONANZE 2018

Associazione Culturale TKE is calling for pieces to be performed at the “Risuonanze 2018 - incontri di nuove musiche”
Festival, which will take place in Friuli Venezia Giulia region - Italy (for the previous edition results: http://
www.risuonanze.it/calls/results2017.html#ENGLISH).
The Call is open to composers of any nationality and age.
Pieces should be written for the specified instruments and chamber groups (please see below); use of tape and/or
electronics is not allowed.
The submitted works should not have been premiered in any public performance in Italy; if selected, these works will
be presented as “world premieres” or “Italian premieres”.
Works of any aesthetic and stylistic direction, not longer than 6 minutes in duration may be submitted.
All music performed in the Festival will be radio-broadcast and professionally recorded; composers will be given a copy
of the recording of their works.
18 Euros (non-refundable) must be paid via bank transfer or PayPal as a donation for contribution to costs; this
amount allows to submit 1 to 6 different works.
Festival “Risuonanze 2018” is based on the direct relationship between composers and audience, so composers
attending the performances are much appreciated. In that case, there is no refund for travel and lodging fees.
Associazione Culturale TKE may select one or more pieces in each category; it may also decide not to choose any
composition.

GUIDELINES


Submission deadline: March 19th, 2018;
• Works written for:

1.  UNACCOMPANIED
• - solo Piano
• - solo Violin
• - solo Flute [C Flute,
• Piccolo, G Alto Flute]
• - solo Oboe
• - solo English Horn
• - solo Clarinet [Bb/A/Eb
• Clarinet, Bbass Clarinet]
• - solo Trombone
• - solo Concert Accordion
• - solo Voice [mezzo-
• soprano, range: F3 to F5
• (piano dynamics) or Ab5
• (forte dynamics)]
2. DUOS
• - Voice [mezzo-soprano,
• range as before] and
• Piano
• - two Violins
• - Flute [C/piccolo/G] and
• Clarinet [Bb/A/Eb/bass
• clarinet]
• - Flute [C/piccolo/G] and
• Oboe [english horn]
• - Clarinet [Bb/A/Eb/bass
• clarinet] and Oboe
• [english horn]
3. TRIOS
• - Flute [C/piccolo/G], Oboe
  [english horn] and
  Clarinet [Bb/A/Eb/bass
  clarinet]
  

• Regarding vocal works, the text should be in the public domain, otherwise the composer should be
authorized for its utilization;
• Works not longer than 6 minutes in duration;
• All submitted works must be “world premieres” or “Italian premieres” in the Festival;
• Submissions via email only;
• Each submission consists in:

1.  one to six scores,
2.  payment proof 18 Euros (bank transfer: IBAN IT58P0634067684510701023136, BIC/SWIFT IBSPIT2U, beneficiary: Associazione culturale TKE, or Pay Pal: please see the Risuonanze website- as description of payment please write “Call for Scores Risuonanze 2018”),
3. a short biography (170 words max.);

• The scores must be attached as PDF files;
• The biography (in Italian or English) must be pasted as text in the body of the email, together with first
name, last name, date of birth and nationality;
• The payment proof (bank transfer or PayPal) must be attached as PDF file;
• In the body of the email, please specify whether the pieces, if selected, should be presented as “world
premiere” or “Italian premiere”;
• Send the submission via email to callrisuonanze2018@gmail.com
The results will be announced not later than May 7th, 2018 on the Risuonanze website, and composers of the
accepted works will be notified by email.
For any further information, please visit: http://www.risuonanze.it/calls/call.html
or email: tkecallforscores@gmail.com

Blue Mountain/Forecast International Call for Scores

Blue Mountain/Forecast International Call for Scores

Hosted by Blue Mountain/Forecast
http://www.bluemountainensemble.org

Blue Mountain/Forecast: 2017-18 International Call for Scores

PRIZE: The winners of the Blue Mountain/Forecast 2017 International Call for Scores will be performed on Blue Mountain/ Forecast’s 2018-19 season in Winston-Salem, NC. From 1-3 works may be chosen. A travel stipend of $500 will be awarded to the winning composer(s) in order to help them attend the concert.

ELIGIBILITY: Composers of art music from all genres and of any nationality are invited to submit works to Forecast Music’s 2017-18 International Call for Scores. No preference will be given as to whether or not a work has been previously performed.

INSTRUMENTATION: Solo and small ensemble works using some or all of Forecast Music’s core instrumentation (flute, bassoon, saxophone, percussion, piano, violin, cello, and mezzo soprano) are welcomed. Pieces may use electronics, and may include one additional instrument not included in the core ensemble. Works with durations of 12 minutes or less are preferable, although longer compositions may be considered.

DEADLINES: All works must be submitted online by December 1, 2017 to be eligible for this year’s call.

SUBMISSION FEE: Payment can be made securely via PayPal/credit card or via check. The fee is $10 for the first entry, and $5 for each additional entry made payable to Forecast Music. For PayPal payment please click on the Payments icon at www.bluemountainensemble.org/international-call-for-scores


SEND (checks) TO:

Forecast Music
c/o Eric Schwartz - Artistic Director
2446 Lyndhurst Avenue
Winston-Salem, NC 27103
USA

checks payable to "Forecast Music"

SUBMIT SCORES TO:
forecastcallforscores@gmail.com (use this address for e-submission as well as any questions)

PLEASE FILL OUT THE FORM BELOW COMPLETELY

INCLUDE IN THE BODY OF YOUR EMAIL:
Composer’s biographical information (250 words maximum)

INCLUDE AS AN EMAIL ATTACHMENT OR LINK
PDF score of composition

https://docs.google.com/forms/d/e/1FAIpQLSf30GzV1_K-NCoziDELx30519gHwjyDQzqdTVKfOwdCVwVEOg/viewform

BEAMS Marathon Festival - Call for Submissions

2017 BEAMS Marathon Festival

March 15th - 17th, 2018 - Brandeis University

The Brandeis University Music Department, in conjunction with New Music Brandeis, are pleased to announce the 2017 BEAMS (Brandeis Electro Acoustic Music Studio) Marathon Weekend Festival. This festival will bring together composers, performers, and artists working with electronics and/or video from all corners of New England for a weekend full of concerts, workshops, demonstrations, and panels.We are very pleased to announce our guest composers and ensembles, who will be presenting and performing at this year’s festival:

Pamela Z - Pamela Z is a composer/performer and media artist who works primarily with voice, live electronic processing, sampled sound, and video. A pioneer of live digital looping techniques, she processes her voice in real time to create dense, complex sonic layers. Her solo works combine experimental extended vocal techniques, operatic bel canto, found objects, text, and sampled concrète sounds. She uses MAX MSP and Isadora software on a MacBook Pro along with custom MIDI controllers that allow her to manipulate sound and image with physical gestures. Her performances range in scale from small concerts in galleries to large-scale multi-media works in theaters and concert halls. In addition to her performance work, she has a growing body of inter-media gallery works including multi-channel sound and video installations.

Elainie Lillios - Acclaimed as one of the “contemporary masters of the medium” by MIT Press’s Computer Music Journal, electroacoustic composer Elainie Lillios creates works that reflect her fascination with listening, sound, space, time, immersion and anecdote. Her compositions include stereo, multi channel, and Ambisonic fixed media works, instrument(s) with live interactive electronics, collaborative experimental audio/visual animations, and installations.

Christopher Biggs - Christopher is a composer and multimedia artist residing in Kalamazoo, MI, where he is Assistant Professor of Music Composition and Technology at Western Michigan University. Biggs’ recent projects focus on integrating live instrumental performance with interactive audiovisual media. In addition to collaborating with artists in other disciplines on projects, he treats all of his works as collaborations between himself and the initial performing artist by working with the performers during the creative process and considering their specific skills and preferences.

Yarn/Wire - Yarn/Wire is a quartet of two percussionists and two pianists. This instrumental combination allows the ensemble flexibility to slip effortlessly between classics of the repertoire and modern works that continue to forge new boundaries. Founded in 2005 while at Stony Brook University, Yarn/Wire is admired for the energy and precision they bring to performances of today's most adventurous music. The results of their collaborative initiatives with genre-bending artists such as Two-Headed Calf, Pete Swanson, and Tristan Perich point towards the emergence of a new and lasting repertoire that is "spare and strange and very, very new." (Time Out NY)

SPLICE Ensemble - The SPLICE Ensemble is a trumpet, piano, and percussion trio focussed on cultivating a canon of the most important works composed for instruments and electronics. Through seminars, lectures, master classes, concerts, and commissions, the SPLICE Ensemble works with composers and performers on performance practice techniques for collaboration and integrating electronics into a traditional performance space. The resident ensemble of both the SPLICE Summer Institute and the SPLICE Festival, the SPLICE Ensemble has been a featured ensemble at M Woods in Beijing, SEAMUS, the Electroacoustic Barndance, SCI National, Electronic Music Midwest. They have recorded on both the SEAMUS and Parma Labels.

Transient Canvas - Praised by the Boston Globe as "superb", Amy Advocat and Matt Sharrock have been blazing their own trail as the bass clarinet/marimba duo Transient Canvas since 2011. In that time they have premiered over 75 works, essentially creating an entirely new repertoire for their unique instrumentation. Fearless in their programming and hungry for new collaborations TC performs anywhere from microbreweries to concert halls and actively seeks out new composers who will stretch their instrumentation to its limits. Call for Scores
We are currently accepting submissions from student composers for pieces that include electronics or video in some way. You must be a current undergraduate or graduate student (located anywhere), and must plan on attending the festival. If you do not attend the festival, your work will not be performed. We have four categories that you can submit to.
Category I: Music for the SPLICE Ensemble (Piano, Trumpet, Percussion)
We are accepting submissions for one piece that will be performed by the SPLICE Ensemble. Any subset of the ensemble will be considered, but preference will be given to works that include all three performers (and electronics or video).
Category II: Music for Transient Canvas (Bass Clarinet, Marimba)
We are accepting submissions for one piece that will be performed by Transient Canvas. Any subset of the ensemble will be considered, but preference will be given to works that include both performers (and electronics or video).
Category III: Works for Fixed Media
We are accepting submissions for pieces for fixed media (up to 8 channels, double diamond). These pieces may also include video.
Category IV: Pieces for Instrument and Electronics
We are accepting submissions for pieces for instruments and electronics. These can be for any instrument. For this category the composer will be responsible for bringing his or her own performers. These pieces may also include video.
SUBMISSION INSTRUCTIONS
- Please send us the following through the form at the link below:
- Name, email address, and affiliated institution
- Title, instrumentation, and length of piece you are submitting
- Detailed technical requirements 
- Link to a score of your piece (if applicable) 
- Link to a recording of your piece

- Please direct all questions to Brian Sears at bsears@brandeis.edu 

**Deadline for submission is November 15th 2017**
Submit at this link! ­ https://goo.gl/forms/kSrx8YafuQi7GhM02

BGSU Klingler ElectroAcoustic Residency (KEAR) Call for Applications

Call for Applications:

KEAR Two-Week Electroacoustic Composer/Researcher Residency 2017-18 - Residency for SPRING 2018

APPLICATION DEADLINE: Midnight (Eastern Standard Time) Friday 17 November 2017

AWARD: Travel funding, housing, and stipend

APPLY: complete the application

STUDIO INFORMATION: visit website

BGSUElectroacoustics welcomes applications for its fourth annual Klingler Electroacoustic Residency (KEAR) program. We seek a dynamic, innovative composer, researcher, or practitioner with a project requiring the use of our surround studio facilities. NOTE: This year’s residency will take place during **Spring 2018 only**, for which one composer will be selected to visit for two weeks to work on a composition and/or research project employing multi-channel spatialization (up to 10.2), first order Ambisonics, and/or controller-driven live performance.

2016-17 Residents:

Adrian Moore (Sheffield, UK)

Robert Normandeau (Montreal, QC)

2015-16 Residents:

James Andean (Leicester, UK)

Louise Harris (Glasgow, UK)

2014-15 Residents:

John Young (Leicester, UK)

Jonty Harrison (Birmingham, UK)

2013-14 Residents:

Adam Basanta (Montreal, QC)

Brad Garton (New York, NY)

ELIGIBIILITY

All electroacoustic composers, researchers, and practitioners are welcome to apply. Preference will be given to applicants whose proposal makes a compelling argument for using the multi-channel and/or Ambisonics (MC/A) studio resources. Preference will also be given to established professionals in the field.

AWARD DETAILS

Selected composers will receive:

·      Airfare or mileage reimbursement to/from Bowling Green (up to $1500 and adhering to Bowling Green State University travel regulations)

·      On campus housing

·      $150 Meal card for on-campus dining

·      $150 stipend

·      Unlimited access to the BGSUElectroacoustics MC/A studio for two weeks (14 days)

AWARDEE OBLIGATIONS TO BGSUElectroacoustics

While the resident's primary activity will be working on his/her proposed project, we seek a resident willing to engage with our creative community during his/her visit by spending some informal time with our faculty and students, and sharing their expertise in a few formal settings as follows:

·      Present two music technology course lectures - topics to be agreed upon with the course instructors. (75 minutes each)

·      Teach up to four 30-minute lessons to students composing electroacoustic pieces.

·      Present one informal lecture and demonstration on the project at the residency's end. (75-90 minutes)

·      Other activities may include interviews (audio and/or video), photography sessions, and other press-related endeavors with BGSU Marketing and Communications, to be used by BGSU at its discretion for publicity and archival purposes.

·      Commitment to serve as a judge for one future KEAR scheme.

AWARD CRITERIA

·      Proposed projects should clearly and convincingly illustrate the necessity of working in the BGSUElectroacoustics MC/A facility.

·      Awarded composers must reside in Bowling Green and work on their proposed project for two weeks (14 days total.) Shorter durations will not be permitted. Longer periods may be possible but the resident must pay his/her own expenses after completing the sponsored 14-day residency.

·      In-progress projects may be completed during the residency period.

APPLICATION PROCESS

Interested applicants must submit an electronic application form including the following:

·      Project title and detailed description (850 word maximum)

·      Signed residency agreement

·      Maximum of three web links pointing to work examples (soundfiles, score, video demonstrations, research papers, software, etc.) Hard copy materials will not be accepted.

o   Composers should submit up to three electroacoustic compositions with a 30-minute sum-total maximum duration. Multi-channel works are permitted but please include a stereo version for the jurors.

o   Researchers should submit up to three papers and/or software programs.

Submit online here.

Applications will be reviewed by a three-member international jury.

Selected residents will be notified by 20 December 2017, after which time additional details will be provided.

Questions about the process may be addressed to Elainie Lillios – lillios at bgsu.edu

DEADLINE

Applications must be received by midnight (Eastern Standard Time) on Friday 17 November 2017. Late or incomplete applications will not be considered.