This is a space for news, and information about events and opportunities of interest to the New Zealand composition community.
Please forward any such information to firstname.lastname@example.org, and it will be posted here.
This is a space for news, and information about events and opportunities of interest to the New Zealand composition community.
Please forward any such information to email@example.com, and it will be posted here.
CALL FOR PAPERS
The Enterprise of Musicology: Trends in our New Age
Hong Kong, 4-6 December 2015 (Submission Deadline: 15 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?
IMSEA 2015 would like to call for papers to brainstorm themes associated with such thoughts; they could embrace:
• New approaches to music performance
• Interdisciplinary, and multi-disciplinary practices
• Concepts and histories of music theory
• Technology in music
• Science(s) of music and music-practice
• Practice as research/performance-based research
• Asian studies
• Popular music in East Asia
• The musician as creative entrepreneur
Abstract Submission Guide
DEADLINE: Friday, April 10, 21:00 (UTC+8). To avoid online problems, please submit at least 24 hours before the deadline.
AUTHOR NOTIFICATION: Friday, May 15, 2015.
PARTICIPATION: Faculty, graduate students, and independent scholars are all welcome. An individual may submit no more than one proposal in each category.
PANEL: Among the categories, panels are especially encouraged, in particular those with researchers from different regions/disciplines. The organizer of a panel should act as the corresponding author and submit the proposal as a package that includes the abstracts of each paper as well as a rationale of the whole.
LENGTH: Max. 250 words for each abstract or rationale.
ENCODING: Only plain text without any formatting.
SUBMISSION: Only online through the following links (accessible during the submission period stated above); submissions by post or by e-mail are not accepted. Each abstract should include its author’s name, institutional affiliation, telephone number, and email address. PLEASE FOLLOW ALL INSTRUCTIONS IN THE FORMS CAREFULLY.
1. Panel Session: 90-min./3-papers or 120-min./4-papers; panels with researchers from different regions or disciplines are encouraged.
2. Individual Paper: 20-minute report followed by 10-minute discussion.
For any enquiries, please contact us at firstname.lastname@example.org.
Have your work featured at Arizona Pro Arte’s September 19, 2015 concert. The winning works will be performed with our musicians, and original choreography and dancers from ELEVATE DanceWorks.
Submissions may consist of any combination of standard orchestral instruments up to eight (8) performers plus prerecorded tape/audio track. Of the performers, a maximum of two may be percussionists. A maximum of one piano may be utilized. Entries with harp will be considered.
Deadline: April 3, 2015
No Application Fee or Eligibility Restrictions
Further details can be found at: http://www.azproarte.com/call-for-scores/
From Auckland Council:
MAKE MUSIC IN THE WILDS!
Here’s something for musos to act on now, at the start of a fresh year!
It’s a residency opportunity offering free beachside accommodation, a weekly artist’s fee and a ‘studio’ in scenic surroundings.
We are looking for an adventurous artist or creative composer who would like to live and work from either Duder or Waitawa Regional Park.
Applications must be in by the 17th February 2015 but the residency is not till mid Oct-mid Dec 2015.
For more information, to download application forms and to get the flavour of previous residencies go to www.aucklandcouncil.govt.nz/arts
In association with CANZ and Chamber Music NZ
The inaugural Aroha Quartet/SOUNZ/RNZC Recordings Project 2015 calls for scores for string quartet (2 violins, viola and cello) by New Zealand composers.
This is a new collaborative project between SOUNZ Centre for New Zealand Music, the Aroha Quartet, Radio New Zealand Concert, the Composers Association of New Zealand and Chamber Music New Zealand.
As a result of this initiative, 80 minutes of previously unrecorded string quartets by New Zealand composers will be made available for free online streaming through partner websites.
The project is open to all New Zealand composers (composers must be New Zealand born, resident or hold New Zealand citizenship).
Submissions should be sent as a PDF to email@example.com no later than 20 February 2015.
Contact firstname.lastname@example.org for further information about this project.
For information about the Aroha Quartet, visit their website www.arohaquartet.co.nz
Deadline Monday 1 December
Creative New Zealand in association with the Auckland Arts Festival is calling for proposals from theatre, dance, music and cross artform companies and artists to showcase work for international presenters. This will take place during the Auckland Arts Festival, 7 – 14 March 2015 as part of Creative New Zealand’s annual Te Manu Ka Tau programme
Showcases will be held in both Auckland and Wellington, depending on the home base of successful companies/artists.
Current possible showcase dates are:
Auckland: Monday 9, Tuesday 10, Wednesday 11 March
Wellington: Thursday 12 and Friday 13 March
Final dates will be confirmed after TMKT guest’s schedules are finalised.
Costs associated with your showcase will not be eligible for additional funding from either Creative New Zealand or the Auckland Arts Festival, but a venue and some technical support may be provided.
Artists and organisations must be able to provide up to 20 minutes of a work that is complete and ready for touring. We are looking to provide some central city venues, so that our international manuhiri can experience as many showcases as possible within a limited time-frame. However, if you have specific venue requirements or wish to present in your own rehearsal rooms please include this in your proposal.
We will also consider pitches for works that are in development, depending on available time, especially if the works have an Asian partner or are wishing to find a presenter in Asia. Please include any Asian connection in your proposal and your reasons for wishing to engage with Asia.
The opportunity to submit a proposal closes at 5pm on Monday 1 December 2014 and decisions will be made by Friday 19 December. Late proposals will not be accepted. The proposals will be assessed by a panel made up of Creative New Zealand staff, the Auckland Arts Festival Artistic Director, the New Zealand Festival Artistic Director and at least one independent industry representative.
The company must be a Creative New Zealand client; for example previously or currently funded though the Toi Tōtara Haemata, Toi Uru Kahikatea or Arts Grants/Quick Response funding processes.
The company must provide evidence of national and/or international touring experience and have suitable work appropriate for international markets.
The company must be available for touring in 2015 and 2016.
The company must have the rights to tour the work internationally.
The work to be showcased must be described fully (synopsis, story board and/or DVD, YouTube links provided) and evidence of availability of artists to perform in the showcase must be confirmed in writing.
The work to be showcased should be a completed work that has already been presented, is about to be presented, or is a work in development that has been well progressed. Key company personnel other than performers, for example director and producer, must be available to attend and speak to the work via a Q and A process.
Companies must be aware that although a venue will be provided, the venue will come with limited production facilities for showcases so the company/artist will need to cover the costs of any specialist equipment.
The proposal should include; name of the work, art form, stage of development, previous performances, if any, a description of the intended audience for work and reasons for wishing to tour internationally, and in which markets.
The proposal should be brief and to the point.
Reviews or critical commentary should be attached to the proposal, which should be no more than four A4 pages. Please do NOT attach lengthy CVs or bulky back ground paper-based information. Support letters from other Festival directors and venue presenters are useful.
YouTube or vimeo is the preferred visual support material.
Expressions of interest can be submitted electronically, but if any information is missing from the proposal as outlined above, your proposal will not be considered.
Can be electronic or hard copy. Electronic is preferred
Must arrive by 5pm on Monday 1 December 2014
Sent to Sally Woodfield, Te Manu Ka Tau Administrator, email@example.com
PO Box 5419, Wellesley St, Auckland 1140
In 2015 we hope to welcome a variety of Festival presenters, venue programmers and producers from:
Annual residency program for composers and performers – July 13-Aug 2, 2015
Application Deadline: Thurs, January 15, 2015
The Bang on a Can Summer Music Festival at MASS MoCA (Massachusetts Museum of Contemporary Art) is a three-week residency and musical utopia for innovative composers and performers dedicated entirely to adventurous contemporary music. We will write it. We will perform it. We will think about it and we will talk about it. Composers will have their works performed. Players will perform in ensembles sitting alongside their teachers. There are daily recitals in the museum galleries, and the residency concludes with a six-hour blow-out Marathon Concert featuring performances by the student/faculty ensembles. The program also includes world music workshops, an orchestra of original instruments, technology and music business seminars and more.
Past participants have said: Bang on a Can has changed my life. I never thought it would be possible to find a community that is devoted to new music with such a high caliber of musicianship, such enthusiasm and mutual supportiveness, and such a sense of joy for everything we do. I know I’ll be looking to recreate this feeling in my future collaborations, always.
Bang on a Can is really everything I want the music world to be — inclusive, engaging, innovative, fun, thought-provoking, beautiful, challenging, and rewarding. The festival brings all of that and more directly into focus, and it has made all the difference in the word to have been a part of it.
The faculty will be drawn from among the most innovative musicians of our time from ensembles including Bang on a Can All-Stars, eighth blackbird, California EARUnit and more: Gregg August, bass; Ashley Bathgate, cello; Vicky Chow, piano; David Cossin, percussion; Michael Gordon, composition; David Lang, composition; Brad Lubman, conducting; Nicholas Photinos, cello; Vicki Ray, piano; Todd Reynolds, violin; Mark Stewart, guitar; Ken Thomson, saxophone/clarinet; Julia Wolfe, composition; and more special guests!
The Bang on a Can Summer Music Festival at MASS MoCA is located in the beautiful Berkshire Mountains in Western Massachusetts. MASS MoCA presents exhibitions and performances by renowned artists and cultural institutions, but it also is a place where the process of creativity is explored. Bang on a Can is thrilled to work with them in building a bridge between the arts.
Contact: Philippa Thompson, Manager
+ 718-852-7755, firstname.lastname@example.org
Te Kōkī New Zealand School of Music (NZSM), Victoria University of Wellington invites applications for the Creative New Zealand/Jack C. Richards Composer-in-Residence at NZSM for the period July 2015–June 2016.
The appointment is jointly funded by Creative New Zealand and private donor Dr Jack C. Richards, with the NZSM as host organisation. This position fosters and expands the New Zealand musical landscape by providing an established composer with the opportunity to write full-time for the period of tenure.
Applicants should be composers of proven merit and be New Zealand citizens or hold New Zealand residency. Applicants may not be employees of, or have been employed by, the New Zealand School of Music (NZSM) or Victoria University in the twelve months prior to the closing date. Students working towards the completion of a tertiary qualification in the period of the residency are also ineligible. Individuals who have been a composer-in-residence in a Creative New Zealand-supported residency within the twelve months prior to the start of the residency are not normally eligible. Applicants should not normally receive any additional substantial income or paid leave during the period of the residency.
Benefits, Opportunities & Sector Partnerships
The residency provides numerous benefits and opportunities for the promotion, presentation and professional development of the successful candidate in the following ways:
Orchestra Wellington will offer the nominal position of Composer-in-Residence to the successful candidate, should the candidate have included an orchestral work in their Work Proposal document (see below), and guarantees performance of one new work written by the composer.
The Lilburn Residence Trust normally offers the use of the former home of Douglas Lilburn in Thorndon to the successful candidate for a modest rental. The house is located in an enclave of artist residences, including the Rita Angus Cottage and the Randell Cottage and is within walking distance of the NZSM.
Te Kōkī New Zealand School of Music (NZSM) at Victoria University of Wellington offers to facilitate access to Wellington-based performers and ensembles (e.g. NZSQ, Stroma, Strike, Orchestra Wellington, Baroque Voices) who have agreed to consider programming new works written by the composer. It also provides the following hosting benefits:
• one of the largest composition programmes in NZ, with 8 permanent faculty (Prof John Psathas, Dr. Dugal McKinnon, Michael Norris, Dr. Dave Lisik, Dr. Stephan Prock, Kenneth Young, Dr. Ted Apel, Dr. Ajay Kapur) and over 100 composition students;
• a wide range of compositional expertise amongst staff, with research strengths in orchestral composition, jazz composition, film music, sonic arts, installation practice, multimedia, music technology/engineering and post-tonal theory;
• invitation to interact with, collaborate with, and compose for performance staff;
• an annual reception for the incoming and outgoing Composers-in-Residence to which the local composition community is invited;
• agreement to record at least one work composed during the residency, and to collaborate with the Centre for New Zealand Music (SOUNZ) to film the recording for dissemination via the SOUNZ Website;
• Wai-te-ata Music Press agrees in principle to publish at least one of the works composed during the residency;
• a performance of at least one work within the NZSM lunchtime concert series;
• networking opportunities with Rattle Records for potential future projects;
• invitation to attend the weekly NZSM Composer Workshops, and to present two workshops during the period of their residency;
• invitation to sit on the jury of the annual NZSM Composers’ Competition;
• mentoring of senior postgraduate students of the NZSM;
• provision with an NZSM staff ID card, giving access to library facilities including scores, recordings, DVDs, etc, free entry to all NZSM events, and access to facilities including practice rooms, recording studios, electroacoustic music studios, technical assistance, when available;
• provision of office space, computer, IT support and network access.
Tenure and Terms
The appointment will be for twelve months from 1 July 2015 to 30 June 2016. The appointee must reside in Wellington for the full term of employment, with any absences to be negotiated with the Programme Leader (Composition) of the NZSM. While there is no obligation of formal teaching at the NZSM, some contribution to the NZSM’s cultural and academic life is expected, in a manner appropriate to the personal strengths and preferences of the appointee, and in agreement with the Programme Leader (Composition) of the NZSM. Informal meetings with postgraduate students are particularly encouraged. The successful applicant will be hired as a VUW employee for the period of the residency, and will be required to submit a written report to the Programme Leader (Composition) within one month of the end of the tenure, which is forwarded to Creative New Zealand in accordance with their residency regulations. The gross annual salary for the position will be NZ$50,000 for the twelve-month period, which includes 8% holiday pay to be paid when the term of appointment ends.
The selection committee will comprise at least 3 members of the composition staff of the NZSM. The committee will base their decision on the artistic standards and track record of the applicant, as evidenced through a CV and portfolio of representative works, as well as the potential of the proposed works for the residency to make a significant contribution to New Zealand music.
Further enquiries may be made to Michael Norris, Acting Programme Leader (Composition), NZSM. Email: email@example.com; Ph: (04) 463 7456.
Applications should be made via email to the HR Coordinator, NZSM (firstname.lastname@example.org). Please send text files in either MS Word or PDF format, music scores in PDF format, and recordings in either MP3, AIFF or WAV format. Works with a visual component should be hosted via an online video service such as Vimeo or YouTube, and submitted as a web link. Audio or video files larger than 10Mb should be sent to the above email via a file-sharing service such as DropBox or SendSpace. Please note that electronic documents and links are preferred to physical submissions. Any physical documents sent will not be returned or saved for applicants for collection later.
The following files must be submitted with applications:
(a) A current CV, which must include your contact details, qualifications, compositional experience, current employment status and a list of selected compositional output.
(b) A portfolio of no more than 4 representative works. For notated works, please submit both scores and recordings; for works with a visual component, please submit links to online videos (such as YouTube or Vimeo).
(c) A Work Proposal document for the tenure (see below).
(d) Confirmation that you are a New Zealand citizen or that you hold New Zealand residency.
The Work Proposal document must include the following items:
a) An outline of all works you wish to undertake during the residency, including a tentative timetable for completion, intended performers, and any tentative or firm performance dates and venues.
b) Applicants wishing to be considered for the Orchestra Wellington Composer-in-Residence position must include details of an orchestral work to be completed during the residency.
c) Dr. Jack C. Richards has also stipulated that all applicants should propose a solo piece for classical instrument of a difficulty level suitable for a senior performance student (for example, to be performed as part of a performance exam or competition).
d) Please also provide details of any external funding (e.g. commission money) you will receive for any of the proposed works to be completed during your tenure. As the salary for the residency is funded by Creative New Zealand, it may be considered inappropriate to receive any additional Creative New Zealand commission money for work completed during your tenure.
e) In order to develop relationships between Wellington musicians and the composer-in-residence, applicants are encouraged to write for specific Wellington-based performers and ensembles included on the following webpage: http://www.nzsm.ac.nz/about-us/jobs/cir2015-16. Although the purpose of this partnership is for the mutual benefit of both composer and performer/ensemble, neither composer nor performer(s) is bound contractually in any legal sense. The Programme Leader (Composition) at the NZSM may help facilitate networks with these performers.
Applications close 5pm, Friday 28 November 2014.
All CANZ members are invited to contribute to a special edition of Canzona celebrating the first 30 years of the Nelson Composers Workshop.
In this issue, it is hoped that each year will be celebrated with images and a text by a participant about their own experience of the Workshop and their memories of a particular year.
– the text is intended to be reflective and personal (not straight reportage)
– contributions can be from 100-750 words long
– if you’d rather not write about a particular year but just offer a more general reflection on the Workshop this is also very welcome
We are also seeking photos from each year of the Workshop. Please contact Samuel Holloway at email@example.com for more information or to offer text or photos. A deadline of 21 November is suggested.
1. Encourage college students majoring in arts, humanities, education, or others to write songs for children
2. Arouse public interest and attention to songwriting for children.
3. Produce more good songs for our children.
Organizer: Department of Early Childhood Care and Education, College of Applied Human Ecology, Kun Shan University, Tainan, Taiwan
Supervised and Sponsored by: Ministry of Education, Taiwan
Other Sponsors: Band Musical Instrument Studio
1. International Category: College students from any country of the world other than Taiwan, Kinmen and Matsu can enter.
2. Domestic Category: College students from Taiwan, Kinmen or Matsu can enter
1. The registration form, printed sheet music with lyrics on it, and a prerecorded CD must be sent together to the address indicated in the contact information below. On the envelope please indicate “Registration for the 2014 Songwriting Contest – International Category”. The registration form can be downloaded from the website http://www.ksu.edu.tw/eng/unit/D/T/CH/CED/.
2. Do not put identifying information on the materials sent in. The identifying information only can be shown on the registration form.
3. The song must be original and unpublished, for both music and lyrics.
4. The lyrics must be written with English and meant for children.
5. The length of the song must be at least eight bars and time limit is five minutes.
6. Students can form teams to attend the contest, but no more than five persons a team. There is also a limit of 3 entries per person.
7. The song does not have to be performed by the songwriter, and the recording quality of material is not relevant to the judging process.
8. All entries must be sent in before February 27, 2015.
9. All submitted entries will not be returned.
First Place: US $ 500 or equivalent prize and award certificate.
Second Place: US $400 or equivalent prize and award certificate.
Third Place: US $ 300 or equivalent prize and award certificate.
Fourth Place: US $ 200 or equivalent prize and award certificate.
Fifth Place: US $ 100 or equivalent prize and award certificate.
Honorable Mention (3 places): US $ 35 or equivalent prize and award certificate.
Best Popularity Award (2 places): Award certificate.
1. The top three placing contestants need to have a score of 80 or higher to receive the prize.
2. The awards will be deducted 5% for tax.
1. Pleasant and suitable for children to sing (30%).
a. Rhythm complexity and pitch level are suitable for a child’s singing ability.
b. The lyrics is not beyond children’s life experience or understanding.
2. Originality (30%).
3. Songwriting craftmanship (40%).
4. The recording quality of material is not relevant to the judging process.
Well-known music composers and child education experts around the world.
Announcement of Results:
1. The winners will be announced on the Kun Shan University website on March 13, 2015.
2. No more than two entries of a person will be awarded.
3. The copyright of all awarded works is belonged to the organizer of this contest. The organizer has the right to copy, adapt, publish, perform, and any other using for publicity purposes.
1. Event Date: March 27, 2015.
2. Event Location: Assembly Hall, Kun Shan University, Tainan, Taiwan.
3. All winners must attend the awards showcase and perform their songs.
4. The performers should bring their own instruments except keyboard, which will be provided by the Organizer.
5. If the winners cannot attend the showcase, they should find someone else to present their songs for them or sent in the prerecorded CD to the Organizer by March 24, 2015.
Department of Early Childhood Care and Education, Kun Shan University,
No. 195, Kunda Rd., YongKang Dist., Tainan City 710-03, Taiwan (R.O.C.)
Tel: 886-6-2727175-316 Email: firstname.lastname@example.org
“Contest in Handwritten Score”
Purpose of the Contest
– Music is easily made with electronics and can easily be listened.
– Danger of making melody easily is fraught.
– In this contest, music must be written by hand.
– Experts have always handwritten the melody that gushes forth, and by struggling to elaborate, the excitement of the premiere grew stronger.
– By this activity, a new yet old feeling of urges towards compositions will be discovered.
Chairman of the Executive Committee Junnosuke Yamamoto
1. Age and nationality is not asked.
2. One composition each.
3. Application fee 10,000 Yen. (Transfer money to the designated account by due date)
4. Performance of composition is limited to 12 minutes.
5. One to five of the instruments written below must be used in the composition.
2 Violin, Viola, Cello, Contrabass, Flute (Piccolo, Alto Flute, Exchanging Allowed), Oboe (Cor Anglais Exchanging Allowed), Clarinet (A Tube, B flat Tube, Bass Clarinet Exchanging Allowed), Bassoon, Horn
If the conductor is needed, it is possible to have one, but in this case, the composer himself must conduct while reaching the requirements. Performance fee will not be paid. Before sending the application, it must say conductor on the score.
6. The performers of the final stage will be selected by the organizers.
7. Send four copies of the compositions with the application but the composer must keep the original copy safely.
8. The composition must not have a history of winning any contests.
9. On the front page of the score, the title, name of the composer, must been written both in Japanese and English.
10. Fill in all the blanks on this application, and put a picture of the composer, and send it with the composition. (Pictures of applicants who passed the score examination will be on flyer)
11. The composition must be mailed or brought to The Japan Federation of Composers Inc. (JFC) office which is the address written on the cover of the application by 5 PM on July 31st 2015 (Friday).
The composition will be examined strictly by the judges that JFC has commissioned, and on November 25th 2015 (Wednesday), the “Final JFC Board Composition Award Contest” will be held at Toppan Hall where the compositions will be performed. The winners will be decided by the judges there, and the prize money/award will be given. Rehearsals will be allowed at Toppan Hall the day before the contest. However, the amount of rehearsal time given to each composition will be decided by the board members. It is not required for the exhibitor to come to the rehearsal, but it will be better if they did.
Performance Group: Undecided
The compositions that have been submitted will not be allowed to be revised.
Plagiarism will be disqualified in any circumstances.
The parts of the composition that will be performed must be submitted to JFC after the first examination by September, 2015. The expense spent to make the composition is paid individually. If the composition is not submitted by the date given, it will result in disqualification.
Depending on the composition and the circumstances, the composition may not be played even if it passes the first examination.
The performance royalties will be paid by the Japanese Society for Rights of Authors, Composers and Publishers based on the regulations.
JFC Composers First Place : 200,000 Yen
・ In addition, the winning work will be produced by JFC, and distributed to the major music-related groups・organizations・libraries around the world.
Head of the Jury: Akio Yasuraoka
Jury: Eisuke Tsuchida, Junnosuke Yamamoto
Chairman of the Executive Committee: Junnosuke Yamamoto
Executive Committee: Masao Endo, Ryuichi Horikoshi
* If you wish to submit an entry please email email@example.com for the application form.
The Japan Federation of Composers Inc. JFC Award Clerk
〒151-0061 Mimori bldg. 101 1-19-4 Hatsudai, Shibuya-ku, Tokyo
Tel (813)-6276-1177 Fax (813) -3376-3371 E-mail firstname.lastname@example.org HP www.jfc.gr.jp
Exhibition Fee Transfer Information: Mitsubishi Tokyo UFJ Bank Yotsuya Branch 4593730
Account Holder : The Japan Federation of Composers Inc.
(Transfer charges are paid by individuals)