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

Call for Recordings of New Works

Possibilities Explored: Call for Recordings of New Works

The essence of college radio is the ability to explore the possibilities of radio for students. With this in mind, the classical music program on WRSU 88.7 FM (www.wrsu.org) is looking for recordings of new completed works for an ongoing series during a weekly broadcast that will begin in the Spring of 2009. Ideally, works should broadly be in the spirit of exploring the possibilities of music.

There is no deadline for submissions.

Guidelines

• Works may be in a variety and instrumentation (including electroacoustic works)
• The only requirement for recording quality is that it is representative, in the composer's mind, of the work. The recorded performance can be a professional recording or a reading of the work.
• A short biography of the composer, a synopsis of the work, and the performers on the recording is required and will be read over the air.
• Works may be of any length under a half hour. Excerpts of a work will also be accepted.

There is no award for works played during the series. Prior to being played, the composer will be given the date and time the work will be aired. A future website for the series will also identify the composer and work as being a part of the series.

Submissions will only be accepted electronically in mp3 format to douglas.laustsen@gmail.com If the work is accepted, an uncompressed version of the audio will be requested for airing.

Call for Works: 2009 Spark Festival of Electronic Music and Arts

CALL FOR ARTISTS, COMPOSERS, and PRESENTERS

Submission Deadline: 11:59pm PST, October 31, 2008 (postmarked)

The University of Minnesota West Bank Arts Quarter, Collaborative Arts Program (COLA), and American Composers Forum are proud to present the 2009 Spark Festival of Electronic Music and Arts, February 17-22. The festival will be held on the Minneapolis campus of the University of Minnesota (USA) and neighboring Minneapolis performing arts venues, and will feature numerous guest artists to be announced.

MUSIC SUBMISSIONS

Music submissions will be accepted in seven categories:

1. Concert Hall works: Interactive works for acoustic instruments and electroacoustics (performance forces are available, TBA) and electroacoustic works with and without performers. Performance venues will accommodate 2-8 channel works and works with video. Although there is no strict limit of duration, pieces of fifteen minutes or less are strongly encouraged. This year, Spark encourages submissions of works for electronics with one of the following solo instruments: trumpet, tenor (voice), percussion (marimba especially), or violin. Additionally, the Renegade Ensemble, a local ensemble consisting of 2 percussion, 2 piano, clarinet (Bb, bass, etc), mezzo-soprano, cello and flute will perform several works. Other instruments and ensembles are possible. And, as always, bringing one's own performer(s) is highly encouraged. Note: Although some "tape music" will be programmed, Spark generally favors works with live performers or other visual component. Some accepted "tape" works may be choreographed. Please indicate if you do not wish to be considered for this.
2. Pub/Club works (aka Spark Nightlife): Experimental electronic performances in a "club-style" venue. Performers of various styles will be considered, including those influenced by IDM, hip-hop, glitch, jazz, etc. Selected performers will be given sets of 15-45 minutes. Performance venue will accommodate stereo sound and video. Please note that this venue is literally a pub—It will be a loud place. If your work requires a quiet atmosphere, please submit under the Concert Hall or Ambient Room category.
3. Ambient Room works (aka Nightlife/Ambient): Experimental electronic performances in a coffeehouse or club lounge venue. Works of any aesthetic approach are welcome, but ought to be "quiet" music. Please note that this venue will be a public establishment, not a concert hall, and thus listeners may converse during performances.
4. Installations: [See "Art Works" above]
5. Music with video [See "Art Works" above for general parameters, but also note that this year we ask submitters to specify whether the work is a video piece or a music video piece and these will be judged by separate juries.] Music with Video may also be submitted in either the Nightlife category or Nightlife/Ambient category.
6. Special Submission Category: "Homemade" instruments showcase. We encourage submission of proposals for short (15 minute) talk/performances to explain and demonstrate custom-made instruments. These presentations will happen in lieu of one or more daytime concerts. If the instrument is an item of clothing or otherwise mobile, please consider submitting under the Spark Fashion category (above).
7. Guerilla-style works/performances: See #2 in Dance/Theater, above.

For more information, especially about submitting online, see http://spark.cla.umn.edu/submissions.html

New York Miniaturist Ensemble

The New York Miniaturist Ensemble is always seeking new works to perform. The Ensemble is dedicated to music composed of 100 notes or fewer.

INSTRUMENTATION: The core ensemble consists of violin, piano, cello, and clarinet (b-flat or bass). Solos and duos are welcome and encouraged.

DEADLINE: No deadline.

CEMVA 2008 2nd. Electroacoustic Contest 2008

The works submitted shall be recorded electroacoustic pieces, composed in studio, projected by loudspeakers in concert with the intervention of no live sound sources. They may include a maximum of eight channels and should have duration of between 07 and 20 minutes. The competition is open to composers of any nationality, aged no more than 40 years on 31/12/2008, each of whom may submit only one work: which must not have been commercially published or awarded a prize in any national or international competition.

The entries shall be sent in stereo version (support: CD), as well as a copy of the original multi-channel version in the case of works with more than two channels (in this case the works shall submitted only in CD-R/DVD-R with the audio files corresponding to each of the channels: SDII, AIFF or WAV format.

The works entered shall be identified only by their titles, on pain of disqualification, and shall be sent until 30 September 2008 (by registered mail, the date being determined by the post mark). Entrants shall attach to each copy of their composition a closed envelope, bearing only the title of the composition, and containing the details required to identify the composer with a proof of nationality and age, together with contact information, also send a short biography, a brief description of the work and digital picture of composer: JPEG or TIF formats. Is important shall be sent this rules agreement printed and signalled by the proponent. The materials submitted, as entries to the competition shall kept in Conservatory Library tutored by the Contest sponsors.

Follow the important dates on II International Electroacoustic Contest - 2008:

30 September: Deadline for the sending works to the Contest

10 October: Names of juries spreading

10 October - 31: Judgement

05-06 November: Finalists and Prizes Concert at Mestrinho Theatro - (Praça Champagnat, 68 - Varginha, Mianas Gerais)

The works shall be sent to:

II Concurso Internacional de Composição Eletroacústica 2008 - CEMVA
Praça João Pessoa 137, Centro
Varginha
Minas Gerais
Brasil 37014-200.

Revolutionary Sound - call for soundworks

Radio Papesse, in collaboration with the Festival della Creatività (Florence, Italy) - is inviting radio producers, composers and sound geeks to submit compositions and soundworks on the theme of revolution and its sonic dimension. Which is the sound of revolution?

Revolutionary Sound is part of FreeQuency, a special project within the Festival della Creatività, dedicated to those radios that have played a key role as tools of community strangle and communication in conflicts and revolutions. An exhibit within the festival as well as a meeting point for the debate.

Revolutionary Sound invites to reflect on those movements and people who have fueled winds of change in political, economical, social, cultural, musical and religious contests. We will prioritise narrative, inedited works that use archival materials. The pieces we will love the most will be selected and publicly broadcasted on Radio Papesse and at the exhibit venue during the days of the Festival. They will also enter into the Radio Papesse sound archive. The winner of the contest will also partecipate in the panel, organized by Radio Papesse, on sound archives and their use and re-use in sound art and radioart.

The selected works will be published under Creative Commons License .

SUBMISSION GUIDELINES
1. Pieces should be submitted as Mp3 audio files via the Radio Papesse dropbox.
2. Multiple works may be submitted, however, each work must be accompanied by an info document (DOC, PDF, TXT) with a short biography and program notes;
3. Deadline: 6 October 2008

For further information write to: info@radiopapesse.org

Encore

Grants from $500 to $2,000 are made to performers to play a work at least three times during an 18-month period. Awards support rehearsal and performance costs, so that performers may connect with a composer whose work they have not previously performed. Grant amounts vary according to the duration, difficulty of the work, and the number of performances proposed. As a rough guide, a soloist may receive $500-$1,000, a chamber group (3-8 performers) $1,000-$1,500, and a larger ensemble $1,500-$2,000.

Who may Apply

Performers and composers apply jointly.

Composer/Performer Collaborator Database

ACF has compiled lists of composers and performers who have expressed interest in the Encore program; however performers and composers are not required to appear on these lists in order to be eligible. To access the list, visit Encore Connection.

Vox Opera Call

The next postmark deadline is September 1, 2008

All entries will be reviewed carefully by a panel comprised of opera professionals and members of City Opera’s artistic and production staff.

All members of the jury make recommendations based on the following criteria:

• The work defines itself as an opera with music and words serving a theatrical purpose.
• Score and libretto are stage-worthy and crafted with dramatic savvy.
• Submitted material shows technical skill in composition for vocal writing and instrumental ensemble.
• The creators have a unique voice with the potential to enrich the operatic literature.
• The topic and subject matter of the opera are exceptional, relevant, and well suited to a music-theater form.
• The composer/librettist team will benefit from hearing their work with a full orchestra and soloists.
• The material is performable based on the resources available to the project.
• The work contributes to a wider diversity of styles and perspectives sought out for the festival as a whole.

All entries will also have to meet the following eligibility:

• The competition is open only to composers who are US citizens or composers currently living in America with plans to stay in the country on a long-term basis (proof required).
• The work may not have had a professional stage premiere; if a stage premiere is anticipated, it must be scheduled for after the VOX workshop dates.
• Works of all ensemble sizes will be considered but should not exceed the size of the New York City Opera orchestra (listed below). Instrumental requirements beyond the forces listed below may be considered but not guaranteed.
• Traditional and non-traditional operatic forms and musical styles are welcome.

City Opera Orchestra

The maximum ensemble size usually available for VOX is:
Strings: 10/8/6/5/4
Woodwinds: 3/3/3/3
Brass: 4/3/3/1
Timpani, 2 Percussion, Harp, Piano, Celesta

Additional and non-traditional instruments required for specific excerpts will be considered but not guaranteed. These numbers are intended as guidance in considering a work’s suitability for VOX; this is not a guarantee of what will be available for this year’s festival.

Spatialisation Competition "Espace du Son"

Spatialisation Competition "Espace du Son"

For the performance of acousmatic works

Acousmatic: Pre-recorded work composed in studio, projected on loudspeakers in concert, without intervention of live sound sources.

Spatialised performance of acousmatic pieces deals with directing sounds on multiple loudspeakers spread accross the concert room. Musiques & Recherches' acousmonium has 66 loudpseakers and an analogic console that allows 44 pathes of spatial projections. The performance competition is "manual", i.e. without computer-based system memorising spatial configurations. The performer is hands on the console during the competition. His/her physical presence during the performance is required.

The competition is open to the public. It will take place at the Theatre Marni in Brussels during the XV° international acousmatic festival "L'Espace du Son", which is scheduled for 16 to 19 October 2008.

Registrations and other documents requested in the Competition Regulation must be sent to Musiques & Recherches by post postmarked June 30, 2008, at the latest. There are no registration fees.

Each participant will perform four stereo works, including: an work imposed by the jury, a work of his/her choice, two works drawn the day before his/her performance from a list of pieces proposed to the participant after his/her registration. Personal compositions are not recommanded.

The maximal duration of each work is 10 minutes. The prizes will be awarded at the end of the festival, on 19 OCtober 2008.

The Competition Regulation as well as the Registration Form are available on the website

http://www.musiques-recherches.be/agenda_event.php?lng=fr&id=543