2020 International Society for Contemporary Music (ISCM) World New Music Days in New Zealand

OFFICIAL CANZ SUBMISSION

The official CANZ submission will comprise six works across at least four of the 15 different Score Categories identified in this Call for Works. For an official submission to be eligible each submitted work must be eligible, the durations specified for each work must be accurate, and the submitted works correctly aligned with the relevant category. Assuming the submission is eligible and the ISCM member is in good standing we guarantee that at least one of the submitted works will be presented during the 2020 ISCM World New Music Days.

IN GENERAL

Priority will be given to works shorter than 12 minutes in duration, except where specifically noted in a category description (see below). Furthermore, priority will be given to works written since 2012. Only one work per composer may be submitted, by either Individual submission or Official submission.

By submitting works to this Call, composers are agreeing that if their work is selected for performance/ presentation then they grant automatic permission for the ISCM performance/presentation of their work to be recorded, broadcast, and streamed from the website without additional financial liability to the ISCM or the Festival Organizers. 

INFORMATION REQUIRED

Information required for each Work to be submitted is:

  1. The composer’s personal and contact information: Given names; Family name; Name as it should appear in the programme; Date of birth; full Mailing address; Gender; Phone no.; email address; website (if applicable).
  2. Work information: Title; Submission Category; Accurate duration; Year of composition; Statement of whether the work has been previously performed.
  3. The score (.pdf document preferred), or audio/video documentation if the work does not have a written score – as described in the Work Categories.
  4. An audio or video recording of the work (if available).
  5. Programme notes for the submitted work in English (maximum 100 words).
  6. Technical rider specifying all equipment necessary to perform the work.
  7. Short biography of the composer in English (maximum 100 words).
  8. High-resolution digital photograph of the composer.

Email all material to president@canz.net.nz by 11 July 2019.

WORK CATEGORIES

1. Piano plus

1a) Solo piano

1b) Solo piano (prepared)

1c) Solo piano with fixed audio media

2. Violin plus

2a) Solo violin / viola

2b) Violin or viola, and piano

2c) Violin or viola, and percussion (1 player: glockenspiel, vibraphone, pr bongos, suspended cymbal, large tam-tam, kick drum, concert bass drum, triangle, woodblock, cowbell and auxiliary percussion or found objects that would fit on a trap table) 

3. Percussion plus

3a) Percussion (solo performer) – glockenspiel, vibraphone, pr bongos, suspended cymbal, large tam-tam, kick drum, concert bass drum, triangle, woodblock, cowbell and auxiliary percussion or found objects that would fit on a trap table.

3b) Percussion (solo performer) with electronics. Percussion instruments as above.  Electronics: Roland SPD-SX, Laptop with RME UFX interface, Ableton Live, Protools, Logic, Max, or other electronics if the composer supplies the necessary software/components. Ideally, the set-up will be relatively simple. Quad speaker arrangement is possible.

4. Taonga Puoro plus

Taonga puoro soloist, with/without flute/piccolo soloist (information sheet available)

5. Piano Trio

Violin, cello, piano

6. String Quartet

6a) String quartet

6b) String quartet with fixed audio media

6c) String quartet with percussion (1 player: glockenspiel, vibraphone, pr. bongos, suspended cymbal, large tam-tam, kick drum, concert bass drum, triangle, woodblock, cowbell and auxiliary percussion or found objects that would fit on a trap table)

7. Small Ensembles

Works for all or some of the following instruments:

7a) harp, percussion and double bass

or

7b) Saxophone, trombone, piano and double bass

or

7c) Clarinet, saxophone, trumpet, trombone and percussion(1)

or

7d) Flute/piccolo, oboe and violin

8. Medium Chamber Ensemble

Works for 3–8 players, instruments drawn from the following list: flute, oboe, clarinet, saxophone, trumpet, trombone, percussion(1), piano, violin, double bass

9. Youth Orchestra

5 – 7 minute works written for Youth Orchestra, players aged 14 – 24 years

3 fl (III=picc). 3 ob (III=corA).  3 cl (III=bcl). 3 bn (III=dbn) – 4 hn. 3tpt. 2 trbn. 1 btrbn. 1 tuba – 5 perc. 1 timp. pft. – full strings

10. Orchestra

3 fl (II=picc, III=picc,afl). 3ob (III=corA). 3cl (III=bcl). 3 bn (III=dbn). – 4hn. 3 tpt. 2trbn. 1 btrbn. 1 tuba – 3 perc. 1 timp. 1 hrp – full strings

11. Choir

A capella choir – SATB, SSATB, or SSA (no divisi) 

12. Electroacoustic

12a) Electroacoustic music for fixed media, with up to 8 channels

12b) Works involving live electronics, with up to 8 channels

Speakers are normally positioned as an 8.1 system in a semi-circular array. There is also the possibility of some upper reinforcement from a trio of hanging speakers.

Single screen video is also possible in conjunction with the above.

Works of up to 20 minutes in duration may be considered in this category. 

13. Composer-Performer

Open to composer-performers who work with an expanded approach to composition, artists engaged with the practice of researching and developing new compositional and performative tools which may work in an intersection of the physical, theatrical and visual. This may include performers exploring creation, composer-performer collectives, non-Western instruments, found/built instruments, electronics and extra-musical elements. Composer-Performers are required to bring all necessary materials for the performance, including their own computer with all software and additional hardware as well as all props and any other necessary materials.

Please submit an artist CV in English (up to 2 pages), .pdf description of the work (500 word max), a video of the composer-performer’s work, and a technical rider for the performance.

Works of up to 20 minutes in duration may be considered in this category.

14. Improvising Ensemble

Open to composers-improvisers who may wish to perform with local improvisers (violin, saxophones, percussion and/or keyboards). Composers are requested to send some demo material.

15.  Audiovisual and Installation Works

For gallery/exhibition presentation (i.e. non-concert presentation). Some installations may be positioned in an outdoor environment. Preference will be given to works that bear some relationship to the theme of Music Ecosystems.

Please submit an artist CV in English (up to 2 pages), .pdf description of the work (500 word max), a list of equipment and installation materials, and online support material (2 examples of work). Short-listed applicants will be contacted for additional materials.

Works longer than 12 minutes will be considered in this category.

iscm2020.nz

Call for Scores and Conference Papers: “Music as play – The toy piano takes the stage”

“Music as play – The toy piano takes the stage”, a two day festival with concerts and conference, is announcing a call for toy piano scores and a call for conference papers.

Full information can be found at the website:

https://music-as-play.wixsite.com/toypiano

Call for Scores: 

Composers of any nationality and age are invited to submit newly-composed works for toy piano. Selected works will be premiered during the festival in Como (Italy) by pianist Antonietta Loffredo and then on tour performances in other countries (Spain, Portugal and Australia).

Pieces for solo toy piano (37 key concert grand OR 25 key spinet OR 25 table top) or for toy piano and toy percussion. Up to 5 mins. Application fee of 30 Euros for up to two pieces. Closing date for submissions of scores: 9th December, 2018.

Call for Papers:

Proposals consisting of an abstract of not more than 300 words for spoken papers of 20 minutes. Abstracts are to be submitted in English and the conference language will be English. There is no fee to submit an abstract. Registration fee: 30 Euros. No additional fees for composers who have paid for score/s submission and wish to submit a paper as well.

TRACKING THE CREATIVE PROCESS IN MUSIC

International conference, 4th edition
Huddersfield, United Kingdom
September 14-16, 2017

The TCPM international conference brings together researchers interested in artistic creativity and the study of processes of musical and sound creation of the past and present. Researchers working on this cluster of problems from a wide variety of disciplines (history, music analysis, psychology, philosophy, cognitive science, sociology, ethnomusicology, anthropology, dance, theatre, film, amongst others) are invited to assess the different methodologies developed in the last thirty years in their respective areas from an interdisciplinary perspective.
Submission deadline 2nd December 2016

Further information here:

http://tcpm2017.com/

New Zealand Musicological Society Annual Conference

19-20 November 2016
University of Waikato Conservatorium of Music
Hamilton, New Zealand

Contemporary and Future Paths in Music Performance, Composition and Analysis

In implicit dialogue with the ‘search for tradition’ of New Zealand Musicological Society’s annual conference in 2015, this year we invite participants to consider musical and cultural paths of the present and future, in both New Zealand and international contexts. While there remains interest in considering how the past may be used to shape the future, we particularly welcome submissions that address, directly and indirectly, the following themes:

– New and innovative areas of musicological, ethnomusicological, performative, and compositional enquiry (with all strands broadly conceived)
– Ruptures, divergences and deviations from tradition
– The significance and/or future of labels such as ‘New Zealand music’ in a globalised, 21st-century world

We also welcome papers on other musicology, ethnomusicology, performance and composition-related topics.

Conference rooms will be equipped with AV equipment, with the potential for pianos if needed; we strongly encourage presenters to include audio-visual and/or live musical elements in their papers.

Submission Requirements

Individual Papers (20 minute papers with 10 minutes discussion time)

Proposals should represent the talk as fully as possible. A successful proposal typically articulates the main aspects of the argument or research findings clearly, positions the author’s contribution with respect to earlier work, and suggests the paper’s significance for the NZMS community. Authors will be invited to revise their proposals for the Program and Abstracts, distributed at the meeting; the version read by the Program Committee may remain confidential.

Maximum length: 250 words

Group Sessions (1.5 – 2 hours)

An organizer representing several individuals may propose a group session. For this proposal, organizers should prepare a rationale, explaining the importance of the topic and the proposed constituent papers, together with the names of the organizer, participants, respondent (if applicable), and a suggested chairperson. The organizer should also include a proposal for each paper, which conforms to the guidelines for individual proposals above. Group Session proposals will be considered as a unit and accepted or rejected as a whole. A single paper may be substituted with a performance if deemed appropriate. The proposed session’s consistency and coherence is an important part of the evaluation process.

Paper abstracts included in a formal session proposal are components of the session proposal as a whole, and will not be considered for individual presentation.
Maximum length: 150 words for the rationale, and each constituent proposal

Panel Discussions (1 – 1.5 hours)

Panel discussions are intended to accommodate proposals that are amenable to a more informal exchange of ideas in a public forum than in paper sessions. These can cover a wide range of topics: they may examine a central body of scholarly work, a methodology or critical approach, or lay the groundwork for a new research direction. Such panels should comprise participants’ brief position statements, followed by general discussion among panellists and audience. Panel discussions will be scheduled for the same duration of time as full or half sessions of papers. For this proposal, organizers should outline the rationale and issues behind the proposal, describe the activities envisioned, and explain why each panellist has been chosen.

Panel discussions will be considered only as a whole.
Maximum length: 500 words

Please add a cover page to all submissions that includes the following information: paper title, type of proposal, A/V or piano requirements, and all authors’ contact, institutional, and affiliation details; please leave any identifying details of subsequent pages of the submission to ensure a blind review. Complete submissions should be emailed as a PDF to nzmusicology2016@gmail.com.

Questions about any aspects of the conference can be directed to Nick Braae (University of Waikato) at braae.nick@gmail.com

Submissions due 5pm NZT Friday 29 July 2016

The programme committee will send letters of acceptance by 19 August 2016.

Call for Scores: ACL Conference and Festival, Vietnam 2016

CANZ members are invited to submit works for consideration for performance at the 34th ACL International Festival and Conference in Vietnam, 12 – 18 October, 2016. The festival will be held in Hanoi capital and Vinh Yen city (Vinh Phuc province).

  • Each entrant is allowed to submit one work only from one of the listed categories.
  • In any category, playing inside the piano, or any kind of preparation of the piano, is prohibited.
  • Works written in the last four years are encouraged.
  • Entries are due by Friday 22 April (see below for details).

Categories

a) Orchestral works (maximum 15 mins)
1.  2-2-2-2, 4-2-3-1, Perc (3), Pf, Celesta, Harp,Str, with/without soloist
2.  “Conductors are Composers”:  2-2-2-2, 4-2-3-1, Perc (3), Pf, Celesta, Harp, Str, with/without soloist. NOTE: Any composer whose piece is selected for this category must have some
experience in conducting professional orchestras, because the composer will be asked to
conduct his/her own piece in this concert.

b) Chamber orchestra
Maximum of 15 performers from the following instruments: fl, ob, cl, bsn, 2 hn, tpt, tbn, perc, pf, 2 vn, vla, vc, cb. The maximum duration is 12 minutes, in order to perform as many pieces as possible.

c) Chamber music
1. Maximum of 6 performers including oboe and/or clarinet and/or bassoon
2. Maximum of 4 performers including one violin
3. Maximum of 5 performers on Vietnam traditional instruments
The maximum duration is 12 minutes, in order to perform as many pieces as possible.

d) Piano solo
Maximum duration of 12 minutes.

e) Electroacoustic music
The call for scores in the field of electroacoustic music will be released before May 31, 2016.

 

Young Composer Prize

CANZ members born after October 12, 1986 are invited to submit a work for consideration for the 2016 ACL Young Composer Prize. Based on these submissions CANZ will select one composer to represent New Zealand. Please include a copy of your passport with your application.

  • Duration: 5 – 8 minutes
  • Maximum 5 performers
  • Available instrumentation (1 of each): violin, viola, violoncello, flute, oboe, clarinet, bassoon, horn, trumpet, trombone, and saxophone.

 

Submission Details

Please complete all information on the entry form (ACL 2016 – Entry Form-1) including:

  • Name, date of birth, nationality
  • Address, phone number, email
  • Title, year composed, instrumentation, duration
  • Biography (maximum 150 words)
  • Programme notes (maximum 150 words)
  • Has the work been performed? If yes, where?

 

Also required for the submission:

  • Photo of the composer
  • Audio file or CD of the work (if available)
  • Score (PDF file)
  • Parts (if available, PDF files)

 

CANZ expects to hear from ACL as to their selections by 30 June, 2016. The individual parts of selected scores should be submitted at a later date (to be announced).

Submit your completed application to secretary@canz.net.nz by 5pm Friday 22 April, 2016.

If you are unable to submit the submission electronically it may be posted to the address below. Please ensure it arrives before 22 April.

Composers Association of New Zealand
PO Box 4065
Wellington 6140

CALL FOR PAPERS The Enterprise of Musicology: Trends in our New Age

The East Asian Regional Association of the International Musicological Society (IMS-EA) have announced a call for papers for ‘The Enterprise of Musicology: Trends in our New Age’ to be held in Hong Kong, 4-6 December 2015.

Deadline: 10 April 2015

Musical and musicological trends are ever changing with evolving sociological, economic, and political climates; at the same time, trends can also be geographic-specific. IMS East Asia 2015 sets out to examine current trends of musicological thoughts, and in particular, ‘Asian trends’ – if such a phenomenon could be discerned. Asian countries are some of the fastest growing in the world: in technology, in science, in cultural development, and in educational innovation. Are such elements influential factors in musicological trends in Asia and world-wide?

Read more at http://www.imsea2015.org/

 

 

ISCM-Musicarama 2015 in Hong Kong

The ISCM Hong Kong Section (Hong Kong Composers’ Guild, www.hkcg.org) is organizing a mini-festival called ISCM-Musicarama 2015 held from 31st May to 3rd June 2015, which consists of 4 concerts and a symposium. An international jury (Vytautas Germanavicius, Isao Matsushita, Peter Swinnen, Richard Tsang & Marcel Wengler) will select the pieces among submissions from ISCM composers. Around 28 compositions will be performed by 2 visiting groups and some of the best local musicians. A maximum of 10 composers-speakers will deliver paper presentations on their music. We now call for scores internationally. Overseas composers whose works are featured will be provided 2 nights of hotel accommodation. Besides attending the rehearsals and performances, the featured composers will also be invited to talk about their music in a full-day symposium which can accommodate a maximum of 10 composers-speakers, each of them will also be given a small speaker honorarium of 100 euro.

The Festival would like to call for works based on the following performing groups:
– Orchestral music – Global Symphony Orchestra (Hong Kong)
– Chamber music for Western instruments – Ensemble Kochi (Japan)
– Chamber music for mixed Western and Chinese instruments – members of the Hong Kong New Music Ensemble and Hong Kong Chinese Orchestra
– Choral music – Taipei Chamber Singers (Taiwan)

Submission Requirements:
* Only composers from ISCM Sections/Members will be considered.
* All scores must be sent via the ISCM Sections/Members, not as individual submissions. Each ISCM Section/Member can submit up to 6 scores.
* Only one submission per composer can be accepted.
* Category 1 – for orchestra without soloist: 3-3-3-3/ 4-3-3-1/ 3 perc, timp, harp, 12-10-8-6-4
* Category 2 – chamber music (up to 10 players): fl/ob/cl/fg/hrn/2vns/va/vc/cb
* Category 3 – chamber music mixing Western and Chinese instruments (up to 14 players): fl/cl/hrn/vn/va/vc/pf/perc x 1/sheng/guanzi/liuqin/pipa/guzheng/erhu
* Category 4 – choral music (up to 32 singers, with or without accompaniment)

Submission format
1. PDF version of the score (and parts) saved on a CD/DVD
2. A recording of the submitted work, if available.
3. The year of composition (it is recommended that submitted works should be written after 1999).
4. A fairly accurate duration of the work. It is preferable that works submitted are not too lengthy; around 8 to 15 minutes is recommended.
5. Programme notes of the submitted work in English (approximately 200 words with a soft copy in MS Word document).
6. Indication of whether the work will be a world or Hong Kong premiere in this Festival.
7. A short biography of the composer in English (approximately 200 words with a soft copy in MS Word document).
8. A recent photo of the composer (preferably in jpeg format).
9. Mailing address and e-mail address of the composer.
10. An indication of whether a 20-minute paper presentation of this composition can be delivered in English by the composer during the Symposium, if given a 3-month advanced notice.

By submitting to the Festival, the composer shall agree to make available all necessary performing materials (including scores and parts, special items, etc.) for the performance of the work, if selected. The submitted materials will only be returned if this is expressly requested. Submissions which do not meet the conditions or deadlines specified above will not be considered.

Submission Deadline: 7th November 2014

CANZ will select 6 works for submission. Please ensure your entry accurately meets the requirements above.

Entries should be sent to:
CANZ
PO Box 4065
Wellington 6140
New Zealand

CALL FOR SCORES: ACL Young Composer Awards, Conference & Festival, Philippines 2015 – UPDATED

CANZ members are invited to submit up to two (2) works for consideration for performance at the 33rd ACL International Festival and Conference in the Philippines, 5-12 November 2015.

All required materials (see below) should be sent to CANZ before Friday 22nd August and these will be forwarded for consideration.

Please note works must have been composed within the last four years.

SUBMISSION DETAILS
Together with your entry (score; recording in mp3, if any), please submit the following:
a. Biography (max. 100 words)
b. Email address, telephone number, address
c. Programme notes
 (max. 150 words)
d. Duration of the piece
e. Photo (min. 300 dpi)

Entries must be received at the address below before Friday 22nd August.
CANZ
PO Box 4065
Wellington 6140

CALL FOR SCORES
Likha-Likas: Reconfiguring Music, Nature, and Myth

1. Multi-Media: Music for ritual or drama (e.g. puppet play). May use multi-percussions including gongs and bamboos, found objects like stones, seeds, or other materials like bottles, metal caps, ceramics. May include dance (1-3 dancers), chanter (s),visual elements, and audience participation. Up to 7 -performers. Open to any notation – graphics; words; any form of instruction. Duration: max. 7 minutes.

2. Electronic/Computer Music (Motion/movement-inspired). Open for ‘on-the-spot interaction’ with dancers and audiences. Duration: max. 10 minutes.

3. Chamber music ensemble using any standard Western instruments. May include an Asian instrument.* Up to 11 performers. Duration: max. 7 minutes.

4. Young Composers Prize using standard Western instruments. May include an Asian instrument.* Up to 6 performers. Duration: max. 7 minutes

NOTE: Eligible members (those born after 5 November 1985) of the Composers Association of New Zealand are invited to submit a work for consideration for next year’s Young Composer Prize at ACL. Based on these submissions, CANZ will select one composer to represent New Zealand.

5. Choral music for adult choir. Duration: max. 8 minutes.

6. Art Song for voice and piano. Duration: max. 6 minutes.

7. Ethnic-Pop using voice(s) and standard pop band instruments (drums, electric guitars, keyboard) mixed with Asian instruments. Open to cipher/letter name chord notation. Up to 7 performers. Duration: max. 7 minutes.

8. Symphonic Band for Piccolo (1), Fl (1,2), Oboe (1,2/Eng Horn), Bsn (1,2), Clarinet in Eb, Clarinet in Bb (1,2,3), Bass Clarinet, Alto Sax (1,2), Tenor Sax, Baritone Sax, Horns in F (1,2,3,4), Trumpet (1,2,3), Tenor Trombone 1,2), Bass Trombone, Baritone Euphonium, Tuba, Double Bass, Timpani (set of 4), Percussions (1,2,3,4). Duration: max. 7 minutes.

9. Large Orchestra for flutes (1,2,3—3rd, piccolo), oboes (1,2,3—3rd, English horn), clarinets (1,2,3—3rd as Eb Clarinet or bass), bassoons (1,2,3—3rd as contrabassoon, horns (1,2,3,4), trumpets (1,2,3), trombones (1,2), bass trombone, 1 tuba, percussions for 4 players, piano, strings (8,8,6,6,4). Duration: max. 7 minutes.

* The composer will be responsible for ALL expenses of the Asian instrument/s and its performer/s.

CALL FOR PAPERS
Composers, musicologists, researchers and exponents of contemporary music in Asia are invited to participate in conference sessions. ACL welcomes proposals for paper presentations and plenary sessions on one or several topics on the theme: Likha-Likas: Reconfiguring Music, Nature, and Myth.

Please send an abstract of no more than 150 words, along with a short biography (about 100 words, maximum) of the proponent to asiancomposersleague.ph@gmail.com on or before November 21, 2014.