2nd Karol Szymanowski International Composers Competition Katowice 2015

Competition

  1. Competition is organized by the Karol Szymanowski Music Society in collaboration with the Karol Szymanowski Academy of Music in Katowice.
  2. The subject of the competition is a piece for great symphony orchestra including:3 flauti (3. muta in fl picc.), 3 oboe (3. muta in cr.ing.), 3 clarinetti (3. muta in cl.b.), 3 fagotti (3. muta in cfg), 4 corni – 3 trombe, 3 tromboni, tuba batteria (4 esecutori), arpa, pianoforte (celesta), archi (16-14-12-10-8)
  3. Required duration of the composition 10 – 20 min
  4. The competition is open to composers of all nations regardless of age.
  5. Each participant may submit more than one score.
  6. It is possible to submit works already performed, excluding compositions already published and awarded in other competitions.

Prizes

  1. Cash Prizes:
    • I Prize 20.000 pln (founded by Minister of Culture and National Heritage)
    • II Prize 15.000 pln
    • III Prize 10.000 pln
  2. All prizes are given in their gross amounts.
  3. Special Prizes:
    • Prize of Polish National Symphony Radio Orchestra Katowice – archive recording for Polish Radio or performance of one of the awarded compositions in 2016 – 2017
    • Prize of Karol Szymanowski Philharmonic in Cracow – performance of one of the awarded compositions in 2016 – 2017
    • Prize of His Magnificence Rector of Karol Szymanowski Academy of Music in Katowice – performance of one of the awarded compositions by the Karol Szymanowski Academic Symphony Orchestra in 2016 – 2017
    • Prize of PWM Edition – set of Polish contemporary scores

The deadline for sending the scores is 30th November 2015.

download competition rules
website: http://www.szymanowski-competition.com/en/home

Mauricio Kagel Composition Competition 2015

Conditions for Participation

a) The competition is open to all composers born after August 15th, 1975.
Winners of the 2010 and 2013 editions are no longer eligible to enter.

b) The submitted score will preferably have been composed primarily for this competition.
It must not be older than three years and must not have already been utilized (in particular copied, distributed, performed publicly, broadcasted or made accessible on the internet).

c) Each composer may submit only one entire score, not just in part.

Details of the composition

The score should be for one piano (for one or more pianists), and can include all facets and possibilities of the instrument.

The pieces should be of a level of difficulty suitable for children/young adults and should be practically realizable in piano lessons.

The score is expected to be comprehensible and clear. Performance instructions must be written in German or English.

The piece or group of pieces is expected to have a total length of between 6 and 15 minutes.

Applications

a) The participants are to anonymously send an envelope which is to be marked on the outside with a freely chosen five-digit code which does not give any indication to the identity of the participant. The envelope should contain:

1. six copies of the piano score (all anonymous, the composer’s name should not appear on the score), each annotated with the same five-digit code.

2. an additional sealed envelope marked with the same code and containing the composer’s personal data, a short curriculum vitae and two recent photos.

b) All entries must be postmarked no later than August 15th, 2015 and should be addressed to:

Universität für Musik und darstellende Kunst Wien
Institut Ludwig van Beethoven
Rennweg 8
1030 Wien
Österreich

Deadline: 15 Aug 2015

Website: http://www.mauricio-kagel-kompositionswettbewerb.com/?PageId=1840

Teen Music Composition Contest – Win up to $10K from YoungArts

Application Requirements

  • A full score for each of two (2) original compositions. Each score should be scanned and submitted as a PDF. You may be asked to submit full size scores in addition to the PDF’s.
  • All scores should include instrumentation on the title page and timing of the work.
  • One (1) work for solo or small ensemble (up to eight voices or instruments). Applicants are strongly encouraged to submit work in this category that does not exceed ten (10) minutes in length.
  • One (1) work for large ensemble, either vocal or instrumental (nine or more voices or instruments).
  • A digital video, audio recording or MIDI file for each work is required.

Media Submission Requirements

  • Save and name your files as “[Title of the Work]” with each piece being a separate video file.
  • Save and upload each printed score (PDF format) and video/audio recording separately indicating the title of the composition in the space provided.
  • Do not put your name or any identifying information in or on your media submission.
  • You may submit pre-recorded live performances, such as recitals or concerts.

Intellectual Property and Copyright Requirements

  • All submitted work must be wholly original and may not infringe upon the copyright or other intellectual property or other legal or moral rights of any other person or entity.
  • Applicants are responsible for obtaining and securing any and all rights, licenses, consent and permissions, if applicable, from third parties in relation to any copyrighted material that is not your own (e.g., lyrics, a composition, choreography or other dramatic works). Uploading any copyrighted or otherwise protected materials without permission may infringe the right holder’s copyright for which you may be held liable and for which may prevent you from being considered for participation in YoungArts programs and/or inclusion in the Student List Service. For more information on copyright, visit http://www.youngarts.org/copyright
  • If your work has been submitted to other competitions, you are responsible for getting permission to submit to YoungArts.

Reviewers and Panelists are looking for:

  • Musical Ideas – the quality of the musical material on which the composition is based.
  • Musical Structure – the extent to which an underlying structure exists and is apparent.
  • Control of Medium – understanding of and idiomatic use of voices and instruments.

About YoungArts

YoungArts identifies and nurtures emerging artists ages 15-18 (or in grades 10-12) in the visual, literary, design and performing arts. Winners are provided once-in-a-lifetime opportunities, significant access to scholarships and national recognition. YoungArts ensures the nation’s most outstanding young artists are encouraged – at critical junctures in their lives – to pursue careers in the arts.

Website: http://www.youngarts.org/apply?gclid=CN_J54mW8cUCFQYTHwodURgAVg#discipline_music_composition.html

4TH International Film Music Competition 2015

This is the fourth time that the Zurich Film Festival collaborates with Forum Filmmusik to organise the International Film Music Competition. Participants are invited to score the 6-minute short film THE CONTROL MASTER by Run Wrake (1963–2012) for an approximately 40-piece orchestra.

An expert jury comprising internationally renowned composers and filmmakers will choose a shortlist of five compositions from all the works submitted. These compositions will be world-premiered on 25 September 2015 by the Zurich Jazz Orchestra and the Zurich Chamber Orchestra under the baton of André Bellmont. The winner will be announced by the jury at the end of the event and receive a “Golden Eye” endowed with a CHF 10,000.– cash prize. A further highlight of the event comes in the form of a film music concert, which sees the performance of well-known soundtracks from film history.

A download link for the short film to be scored can be requested here. Registration and upload of the competition documents (application form, MP3 file, and score) can be done here. The submission deadline is 12 June 2015.

Composers of any age, nationality and place of residence who haven’t scored or orchestrated more than three feature films (60 minutes or longer) are eligible to enter. The registration/handling fee is € 75. The detailed terms and conditions of the competition can be downloaded here.

Website: www.filmmusikwettbewerb.ch/en/static-home/

ACF seeks scores for consideration for the 2015 Havana Contemporary Music Festival

Download Application Guidelines here.

OVERVIEW
From November 15 to 21, 2015, The American Composers Forum (ACF) will send an artist delegation to Havana to participate in the 28th season of the Festival de Música Contemporánea de La Habana (Havana Contemporary Music Festival). The artist delegation will comprise the selected composers and New York City-based ensemble Third Sound (Sooyun Kim, flute; Romie de Guise-Langlois, clarinet; Karen Kim, violin; Michael Nicolas, cello; Orion Weiss, piano), which will prepare a program of American music to present at the Festival.
Selected composers will travel to Cuba to attend the Havana Contemporary Music Festival, November 15-21, 2015. All travel and lodging expenses (including necessary visa and government paperwork, medical and travel insurance, etc.) will be covered by ACF.
The artist delegation’s residency at the Festival will include performances of the selected scores at Festival concerts, as well as attendance at all other Festival events and interaction with other composers and performers featured at the Festival. The artist delegation will moreover have the invaluable opportunity to immerse themselves in Havana’s vibrant arts and cultural landscape.
In addition to Festival performances, selected scores will receive further performances as part of Third Sound’s 2015-16 season.

APPLICATION DEADLINE
Works must be submitted electronically, via the “Submission Process” link printed below, no later than 11:59pm EDT on May 31, 2015.

ELIGIBILITY
The call for scores is open to composers living in the United States. There are no restrictions with regards to age, nationality, student/professional status, etc., nor with regards to performance history, publication status, or previous awards of the submitted works.
Composers selected to join the artist delegation must be members of the American Composers Forum. Applicants need not be members in order to submit, but non-members will be required to become members if selected.
Applicants must have a valid passport.
Submitted works must be scored for flute (piccolo and alto flute acceptable), clarinet (bass clarinet acceptable), violin, cello, and piano, or any subset thereof. Works with electronic elements may be considered, but may ultimately not be practical, depending on the technical requirements and the Festival’s available resources.
Each applicant may submit one work for consideration.
Submitted works may be up to 10 minutes in length.
Employees and board members of the American Composers Forum are not eligible to apply.

SUBMISSION PROCESS
To submit a work for consideration, please upload the following materials to Dropbox (or similar web service), and email the link to download to:
Patrick Castillo at pacastillo131@gmail.com.
PDF score – Please name PDF file as follows: [First initial][last name]–[work title].pdf, eg, CIves–TheUnansweredQuestion.pdf.
mp3 recording (if available) – Please name mp3 file as follows: [First initial][last name]–[work title].mp3, eg, CIves–TheUnansweredQuestion.mp3.
NB. A live recording of any quality is preferable to MIDI; no recording is often preferable to MIDI. But a well-made MIDI file can also be useful if no live recording is available. Use your judgment.
Bio and/or CV (PDF), including mailing address, email address, and telephone number – Please name PDF file as follows: [First initial][last name]–Bio.pdf, eg, CIves–Bio.pdf.

There is no application fee.

APPLICATION DEADLINE
Works must be submitted electronically, via the “Submission Process” link printed above, no later than 11:59pm EDT on May 31, 2015.

SELECTION PROCESS AND SCHEDULE
Submissions will be adjudicated and selections will be made by the members of Third Sound.
Selected composers will be notified by September 1, 2015.

FOR MORE INFORMATION
Contact Patrick Castillo (pacastillo131@gmail.com).

Website: https://composersforum.org/program/acf-artist-delegation-cuba-nov-15-21-2015

The 2010 Shure Songwriting Award

The Institute of Contemporary Music Performance (ICMP) and Shure are delighted to announce the launch of the 2010 Shure Songwriting Award. Previously known as the Shure Creative Award and supported by Amy McDonald and K.T. Tunstall, the competition will be judged this year by the sensational singer/songwriter, Paloma Faith.

Paloma has taken the music world by storm this year releasing her debut album “Do You Want the Truth or Something Beautiful?” With the release of her first single ‘Stone Cold Sober’ being brought forward a month early after UK radio leapt on it with such enthusiasm, she is proving herself to be a major new star!

So, if you are a singer/songwriter looking to emulate Paloma and make a career out of your talent, why not take part in this year’s award competition? First prize is a unique opportunity to attend, free of charge, the fantastic one-year Professional Diploma in Songwriting course at the ICMP, Europe’s leading school of modern music, worth over £5,000! And in addition, two runners up will win some amazing Shure gear.

Studying at the ICMP, you will be able to take part in regular live showcase events, professionally develop your talent and have direct access to leading industry professionals. The winner of last year’s award, Zemmy, has already played and performed at a range of high-profile London venues and has supported talented singer/songwriter Amy Studt on part of her UK tour.

To enter, all you have to do is upload an original song to the award website before April 2nd 2010. A combination of an expert panel of judges plus public voting will select a top 8 and then Paloma will be making her selection for this year’s winner! Commenting on the award, Paloma said:

“I’m really excited to be involved with the judging of the Shure Songwriting Award with the ICMP. I think that competitions like this are important to help nurture and support new talent!”

This could be your chance – it could be your song chosen this year! For further details on entry guidelines, terms and conditions or for further information visit the award website www.shuresongwritingaward.com or contact the ICMP directly on:

? 020 7328 0222
? enquiries@icmp.co.uk
? www.icmp.co.uk

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:
1. 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.
2. Duration: 20 minutes maximum
3. Limit: One entry per composer
4. 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).
5. 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.
6. Return of Materials: Scores will not be returned unless a self-addressed, stamped envelope of the proper size is enclosed.
7. 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
Zack Browning
www.zackbrowning.com

Sundance Institute Announces Six Fellows for the 2009 Sundance Institute Composers Lab

Fellows Span the Musical Spectrum with Unique Backgrounds in Jazz, Funk, Big Band, and Classical

Creative Advisors Include Three-Time Academy Award Winner Walter Murch and Golden Globe Winner Harry Gregson-Williams

Los Angeles, CA — Today, Sundance Institute announced the six musicians selected for the 2009 Sundance Institute Composers Lab, which runs from July 15 – July 29 at the Sundance Resort in Utah. This year’s Composers Lab Fellows are Kim Carroll, Chanda Dancy, Magda Giannikou, Lili Haydn, Christopher Lord, and David Poe. The selected composers bring an eclectic range of talent to the two-week lab, which focuses on the process of writing music for film with the support and guidance of the industry’s leading film composers and film music professionals.

To give the composers first-hand experience, the Lab Fellows also collaborate with filmmakers from the Sundance Institute Feature Film Program. The Composers Lab Fellows will explore the process of writing music for film by creating accompanying scores for scenes shot during the Feature Film Program’s Directors Lab, held earlier this summer.

The Composers Lab is a major component of the Sundance Institute Film Music Program, dedicated to supporting emerging film composers and to enhancing the role of music in independent film. First offered from 1986-1989, the Composers Lab was re-introduced in the summer of 1998 to provide a collaborative and supportive environment in which composers experiment and expand their musical language. The Lab Fellows have a wide variety of experiences — some have never scored a film while others have composed quite a few scores for independent film.

“During their time at the lab, we create a place where the composers can focus on stretching their unique musical voice,” said Peter Golub, Director, Sundance Institute Film Music Program. “By pairing composers with filmmakers, we initiate dialogue and explore the important role music plays in storytelling. We are thrilled that this year’s fellows bring a diversity of backgrounds and of genres, and their time at the Lab will certainly be a time of exploration and growth.”

The Fellows for the 2009 Sundance Institute Composers Lab are:

Kim Carroll

Irish-born, Carroll has distinguished himself by taking an organic approach to film composing, using live instruments and employing discrete textured guitar. His credits include the thriller The Colony (Gold Medal winner at the 2008 Park City Film Music Festival); the dark comedy webseries Hellholes; the 2009 Sundance Film Festival acclaimed film The Horse Boy (co-composed with Lili Haydn); and the documentary Survival of the Wildebeest. As a guitarist, he can be heard on the soundtracks of Gone Baby Gone, The Chronicles of Narnia, Veronica Guerin and others.

Chanda Dancy

Dancy, a composer of music for film and video games including Arabian Lords and Code Orange, is a graduate of the University of Southern California Advanced Studies in Scoring for Film and Television. She is the winner of 2002 BMI Fellowship in Film Scoring and the 2004 Associated Production Music/Young Musicians Foundation Music Business Fellowship. Dancy has had the opportunity to score several films including the critically acclaimed documentary What Are We Waiting For? and the award-winning feature Chandler Hall. Music by Chanda has been heard around the world at festivals such as Cannes Film Festival, L.A. Film Festival, Jackson Hole Film Festival, Sapporo Short Film Festival, and L.A. Asian Pacific Film Festival.

Magda Giannikou

Born in Athens, Greece, Giannikou studied piano and musical theory at the National Conservancy of Greece and Nakas Jazz School. After working as an in-house arranger/producer for Legend Recordings’ children’s division, Giannikou attended Berklee College of Music, where she received the Georges Delerue Award for Achievement in Film Scoring. In addition to film composing, Giannikou has explored big band music, and she has performed as an accordionist and vocalist, including for her own band, Mellow Bellow.

Lili Haydn

Before launching her solo career, singer-songwriter-violinist Lili Haydn established herself by playing with such diverse artists as Porno for Pyros, Nusrat Fateh Ali Khan, Herbie Hancock, Robert Plant & Jimmy Page and the Los Angeles Philharmonic,. She has released four solo albums with major labels; her most recent album, Places Between Places, was featured on NPR. A sometime member of Parliament-Funkadelic, Haydn has been called by George Clinton “the Jimi Hendrix of the violin.” She also co-composed the score to the critically acclaimed 2009 Sundance Film Festival, The Horse Boy.

Christopher Lord

As a graduate of UCLA and Berklee College of Music, Lord is the top-10 winner of the 8th Annual Young Film Composers Competition (Turner Classic Movies) and was chosen to participate in the mentorship program at the Society of Composers and Lyricists. Recent credits include At the Movies (ABC), Million Dollar Listing (Bravo), and the feature Blind Ambition. As an orchestrator, he has worked on numerous studio films, including Transformers 2VG, The Dark Knight, Hairspray, Evan Almighty, and The Mummy 3.

David Poe

Originally from the Midwest, Poe was transplanted to Manhattan where he ran the soundboard for the legendary CBGB’s gallery before he signed onto Sony/Epic. A songwriter, producer and composer for film, theater, and dance, Poe has scored the films Chapter, Dare, Harvest and Little Spirit, created premiere musical works for Cedar Lake Contemporary Ballet and Pilobolus Dance Theatre, and released four albums and a live performance DVD. He has collaborated with numerous artists, including T-Bone Burnett, Regina Spektor and Duncan Sheik.

This year’s Creative Advisors include George S. Clinton (Bury My Heart at Wounded Knee, Austin Powers: International Man of Mystery); Osvaldo Golijov (Tetro, Youth Without Youth), Harry Gregson-Williams (Chronicles of Narnia: The Lion, the Witch and the Wardrobe, Taking of Pelham 123); music supervisor and head of music at Lionsgate Tracy McKnight (The Groomsmen, Wordplay, Friends with Money); film editor/sound designer Walter Murch (Apocalypse Now, The English Patient, Cold Mountain); David Newman (Death to Smoochy, Ice Age); Doreen Ringer Ross (Vice-President, Film/TV Relations at BMI); Ed Shearmur (The Merry Gentleman, Charlie’s Angels); and film-music agent William “Vasi” Vangelos (First Artists).

The Sundance Institute Composers Lab receives major support from BMI. Additional support for the 2009 Sundance Institute Film Composers Lab is generously provided by Apple, The Baisley Powell Elebash Fund, Hewlett Packard Company, H.P. Marketing, JBL Professional, LaCie, Mackie, Mark of the Unicorn, Native Instruments, Sony Business and Professional Products Company, Sony Media, Sony ProAudio, and Soundcraft.

Founded by Robert Redford in 1981, Sundance Institute is a not-for-profit organization that fosters the development of original storytelling in film and theatre, and presents the annual Sundance Film Festival. Internationally recognized for its artistic development programs for directors, screenwriters, producers, film composers, playwrights and theatre artists, Sundance Institute has nurtured such projects as Angels in America, Spring Awakening, Boys Don’t Cry, Sin Nombre, Born into Brothels and Trouble the Water. www.sundance.org

Texas Composers Competition 2009

The Stephen F. Austin State University School of Music and The International Society for Contemporary Music are pleased to announce the second annual Texas Composers Competition.

Winning works will receive a cash prize of $200 and be submitted, on behalf of the Texas delegation, to be considered for inclusion on the prestigious ISCM World Music Days 2010 to be held in Sydney, Australia (April 30- May 9, 2010).

Requirements:
Only works written in 2004 or later will be considered.
Works must fit one of the official categories listed at http://www.aurorafestival.com.au/availablecategories.html.
Composers must be residents of Texas.

Submissions:
Send score and recording (if available) at this time. Composers whose works are selected will be required to provide additional information as stipulated at: http://www.aurorafestival.com.au/submittingthroug.html.
Electronic submissions (encouraged) should be in standard file formats (Finale, Sibelius or PDF for scores, any standard audio format for recordings).

Composers may submit multiple works if desired.

Entries can be emailed to slias@sfasu.edu or mailed to:

Stephen Lias
SFA School of Music
PO Box 13043, SFA Station
Nacogdoches, TX 75962-3043

The deadline for receipt of materials (either electronic or by mail) is July 6, 2009.

The number of winners selected will be determined by the judges based on the quality and appropriateness of works submitted. SFA reserves the right not to award any submissions. Composers selected as 2008 winners of this award are ineligible.