The Simon Carrington Chamber Singers is pleased to announce the third annual competition for new choral works. The Simon Carrington Chamber Singers—a world-class choral music ensemble led by renowned artistic director Simon Carrington—engages and enriches audiences through concerts, recordings, and educational programs.

1. Composers of any age, of any nationality, are invited to submit up to two works for mixed chamber singers.

2. Duration should not exceed 8 minutes.

3. Works should be unaccompanied but pieces requiring an obbligato monophonic instrument may also be considered.

4. Works for mixed voices and electronics will be considered. Technology capabilities include: diffusion over 1-8 channels, with available subwoofer channel (8.1 maximum); Mac Intel 8-core with Pro Tools HD3|Accel & 192I/O, Logic Studio, Max 5 and Max/MSP 4.6.3 + Jitter 1.5; Mac laptops; Playback via CD, DVD, DVD-A, DAT, sound file; Yamaha DM1000v2 mixer, microphones, outboard equipment, etc. This list is not exhaustive; feel free to contact the organizers with any other technology questions. The inclusion of electronics in this year’s call is made possible through collaboration with Kansas City Electronic Music & Arts Alliance (KcEMA).

5. Works may have been performed previously. If so, please include a performance history.

6. Works submitted should have been composed within the last five years.

7. Works may be in any language. If in a language other than English, Latin, French, German, Italian, or Spanish, please include an IPA transcription.

8. Texts should be public domain or a letter of permission from the rights holder granting permission must accompany the submission.

9. Non-traditional notation is acceptable as long as there is a clearly notated key provided.

10. Previous winners and finalists of the SCCSCCC are eligible to submit again but must submit a different work.


Your submission package should include (1) score/octavo with duration clearly indicated (2) cover letter with composer contact information including email, title of works submitted, date composed, and duration (3) IPA transcription, if applicable (4) text permission letter, if applicable (5) performance history, if applicable (6) technology specifications and realization, if applicable.  A recording is optional.

Entry fee is $25 for the first piece and $10 for the second. All composers should remit payment thorough our PayPal account, accessible from the SCCS website.

Electronic submissions are preferred.  The cover letter, receipt, scores, recordings, and other materials should be submitted electronically as .pdf and .mp3 files in a .zip file in one email to If the file is exceptionally large (over 15MB) please use a service like or dropbox.

The composer of the winning piece will receive a prize of $1,000.00 (one thousand USD), two concert performances in June 2012, and a performance and/or recording session recording. The Simon Carrington Chamber Singers will have non-exclusive, world-wide perpetual license to perform the winning piece and shall have the right to record the performance for archival and other purposes, including distribution and sale of such recording. Other submitted works may also be selected for performance but will not receive prize money.

Submissions must be received by January 15, 2012. Please e-mail submissions and any questions to:

Upon receipt of materials, a confirmation email will be sent within 48 hours. The winner will be announced late January/early February.

If you wish to submit physical copies or payment, please contact Lee Hartman for instructions.


10 2011

Carlsbad Music Festival Call for String Quartets

The Carlsbad Music Festival, in partnership with its Founding Ensemble-in-Residence, the Calder Quartet, announces its seventh annual composition competition with a prize of $3,000. The Festival and Quartet seek to commission a new string quartet from a highly original, creative, and compelling composer age 35 or under at the time of application (born after 12/9/1975). The winning composition will be premiered at the 9th annual Carlsbad Music Festival in September 2012. Full information can be found through the festival website


10 2011



MARCH 1 – 3, 2012

For complete information:

The 13th Biennial Symposium on Arts and Technology brings artists and researchers together to share ideas and present new works, research and performances in a variety of formats. The symposium will consist of commissioned works, paper sessions, panel discussions, exhibitions, concerts, installations, film screenings and multi-media performances, all addressing one or more forms of fusion between technology and the arts.

The aim of the symposium is to create a forum for multi-disciplinary dialogue at the intersection of arts and technology and in particular, this year, to discuss issues related to aesthetics ensuing from these artistic processes. Participating theoreticians, artists and researchers are encouraged to relate their work to a wider context and engage in critical debate. We are encouraging all presenters and artists whose works are being shown or performed to speak about their work at the symposium.

Furthermore, Connecticut College will be celebrating its centennial (1911 – 2011) throughout the upcoming academic year and we therefore welcome works that incorporate themes with reflective elements spanning a longer period of time. In addition, the Center seeks submissions in the general areas of interactivity, new media, innovative uses of new technologies in the arts, compositional and artistic processes, technology in arts education, interdisciplinary topics in arts and technology including combinations of: art, music, video, film, animation, theater, dance, immersive and interactive systems, computer science, and other pertinent topics.


All submissions must be in one of the following formats. Instructions for electronic submissions will be available on the symposium web site —

PDF document including the information listed in the corresponding submission category below.

Video/audio/image files in common, platform independent formats.

Video/Audio/Data DVD/CD, or hard copies of papers, visuals etc. (by mail)

Papers should address scholarly work in a field related to Arts and Technology. A two-page extended abstract or complete paper must be submitted by the due date. Upon acceptance, a revised 4-8 page paper must be submitted as a PDF for publication in the Symposium Proceedings. All rights will remain with the author. Paper authors will give oral presentations during the paper sessions. Proposals for special sessions and panel discussions are encouraged and some papers maybe grouped into sessions thematically. Special session proposals should include topic, description and names of possible contributors. Panel proposals should include names of prospective panelists and topic. Both should address the general areas of the symposium and have potential to engage the symposium audience.


Music submissions (including composition, performance, theory, interactivity, algorithmic approaches, signal processing) are encouraged. The type of work to be submitted could be in one of many forms including works for instruments, electronic sounds and digital media, interactive performances or works for electronic sounds alone. Submissions may span the entire range from live performance to “tape only” works. Each piece should not exceed 15 minutes in length. Musicians, dancers and actors may be available for live performance pieces. Submissions are limited to two per composer and each submission must include a one page description/abstract for presentation at the symposium, complete technical, equipment and performance needs, accompanying scores (and/or recordings) as appropriate.

Visual art submissions exploring the use of everyday technologies as a creative expression within a community/public space context; time-based media, digital art, web art and other technology-based or technology-oriented art forms are encouraged. Also of interest are proposals for workshops, technical demonstrations, panel discussions on interactive studies and/or multi-media studies in an interdisciplinary context. Submissions must include a one-page description/abstract of the work for presentation at the symposium and relevant visual materials.


Computer-generated or computer-aided dance compositions and theater works are being solicited for live demonstrations or for digitally recorded presentations. Specially produced dance or theater videos are of particular interest as opposed to concert tapes or other archival uses of video. Also of interest are proposals for workshops, demonstrations of software for dance or theater notation, choreographic analysis, interactive studies and/or multi-media studies of performance in dance and theater. Performances may be accepted, but will depend on the technical needs and financial considerations. Submissions must include a one-page description/abstract for presentation at the symposium, complete technical, performance and spatial needs, plus a DVD or web site that shows the work under consideration.


Submissions of short video or film works that include a significant “technology” component in their creation, aesthetic or theme are encouraged. The “tech” involved may be “high” or “low” ranging from digital animation and motion capture work on the “high-tech” end to various methods of digital production and networked distribution on the “low end.” Submissions must include a one page description/abstract for presentation at the symposium plus a DVD or web site that shows the work under consideration.


Proposals for new, original, multi-disciplinary works will be accepted for a “Commissioned” category. Each project must be created by a team consisting of two or more members, and must combine at least one area of creative expression with a major technology component. We anticipate awarding a total of 2-4 commissions with each up to $3000. In celebration of Connecticut College’s centennial, we especially welcome commission proposals that have a longer-term retrospective look within their own themes. Those interested in submitting a commission proposal should also see the complete commission guidelines document available on the symposium web site. The proposed project must not have been previously published, performed or exhibited. Awards will be granted at the discretion of the Program Committee. Submissions not accepted for the commissioned category may also be reviewed for the general submissions category upon request of the submitting team.


Oct 14, 2011: Commission Submission Deadline

Nov 1, 2011: Commission Acceptance Notification

Nov 1, 2011: General Submission Deadline

Dec 1, 2011: General Acceptance Notification

Jan 15, 2012: Final Paper (pdf) Submission Deadline

Feb 26, 2012: Start of Residencies for Commissioned Works

March 1 – 3, 2012: Symposium at Connecticut College


Ammerman Center for Arts and Technology

Connecticut College

270 Mohegan Avenue, BOX 5365

New London, CT 06320 US

ph: 860)439-2001

fx: 860)439-5311




09 2011

FEASt (Florida Electro-Acoustic STudent) Festival

November 18th & 19th, 2011

Herbert and Nicole Wertheim Performing Arts Center
10910 SW 17th Street.

Miami, FL 33165

Submissions must arrive by October 7, 2011

The 4th biennial FEASt Festival is seeking works for fixed media, live-electronics, and performer with fixed media. Works with a video component will also be considered provided that the video component is clearly documented and can be projected with our equipment.

Pieces for up to eight channels will be considered.  Preference will be given to works under 10 minutes in duration.  Selected composers are responsible for providing performers and are expected to attend the concert.

Submissions selected for the concerts will also be considered for inclusion on the upcoming 2011 FEASt Festival CD.

FEASt is also accepting installations. If you would like to submit an installation, please include a thorough explanation (including images and sound files) and complete the same process required for other works.


Please submit works for consideration by email as an mp3 file with the following information provided:

* Name of composer
* Name of School Affiliation + Year in School (e.g., Freshman, Grad Student)
* Contact information (email & phone #)
* Name of piece
* Instrumentation
* Number of audio channels
* Technical requirements
* Duration of piece
* Program notes

To submit work electronically, please e-mail an mp3 or a link to the file with the above information in the body of the e-mail to

For more information or questions, e-mail or visit


09 2011

ART342 Residency 2012

ART342 is now accepting artist-in-residence applications for 14 week and 6 week residencies in 2012.

ART342 offers 14-week and 6-week residencies to emerging and established artists, writers and composers. Studios, a kiln and basic equipment are available for most visual artists, including ceramicists. Quiet spaces exist for creative or scholarly writers. The composer’s studio is outfitted with a Steinway B, computers and software for writing and recording.

Awards for accepted applicants include 24-hour access to free studios, living space and a modest stipend. Residents are responsible for personal expenses and travel to and from the site.
Situated in a semi-rural area, ART342 is just 6 miles north of Historic Old Town in Fort Collins. Up to 7 studios and 5 living spaces are maintained as private places for creative work. Pets, children, visitors and partners are strongly discouraged.
On-line application:

Deadline for all Spring 2012 residencies: October 1, 2011
Deadline for all Summer and Fall 2012 residencies: February 1, 2012

$30 application fee

For more information regarding application and residency details, visit:


08 2011

Sound in SPACE Competition: A Call for Electroacoustic Works

The Goethe-Institut of Boston and the Consulate General of France Cultural Services, in partnership with Northeastern University and Harvard University, are pleased to announce the Sound In SPACE Competition, a call for electroacoustic works to be realized via Harvard University’s 32-speaker Hydra diffusion system during The Art of Interpretation Festival. Celebrating 60 Years of Electroacoustic Music Tradition in France and Germany, The Art of Interpretation Festival will take place from November 17–19, 2011, at the Fenway Center in Boston, Massachusetts.

All finalists will take part in interpretation workshops and coachings led by Prof. Hans Tutschku (Harvard University), Daniel Teruggi (GRM, France) and Ludger Brümmer (ZKM, Germany). Focus will be on the musical use of a multi-loudspeaker diffusion system and the relationship between composed spaces and their rendering in a given concert environment.

The works of the six finalists will each be published on a Festival CD recorded live at festival concerts.

For more information and competition details, please visit


07 2011

CINESONIKA 2: The Second International Film and Video Festival of Sound Design

NO ENTRY FEE this year! Deadline Sept. 15th 2011.

This second annual festival will showcase international works of film and video with fascinating soundtracks, idiosyncratic sound design, eclectic scoring and innovative approaches to the sound-image relationship.

Please note that, while we are very happy to screen experimental works, we are also looking for video works with strong sound design in narrative, documentary, and animation styles as well. We review features and shorts (no minimum or maximum run time). We are also open to older works that are still deserving of a wider audience (e.g. your work doesn’t have to have been produced in the last two years).

Because CINESONIKA is now international, we require TWO DVDs, one each in PAL and NTSC.

All Videos should be formatted as follows:

• Please LABEL each DVD clearly with: Your Name, Title, Run Time, PAL or NTSC, Country of Origin, Year Produced, your email address

• No MENUS on your DVD please! Your DVD should feature ONLY the work you are submitting, and it should be set to AUTO-PLAY on INSERT.

• You may submit multiple works- each should be on their own pair of DVDs, however (PAL & NTSC). This aids in screening (you should help us because we are helping you by NOT requiring HDCAM for smooth playback in a festival).

• No LOOPING DVDs please.

• Include a printed write-up which provides an artist statement about the work, and short bio(s) of the artist(s) involved in producing the work, as well as your contact information.

If your work is accepted, we will ask you for a short video excerpt for online preview to be sent by email link.

Artists accepted into CINESONIKA will have the opportunity to have their work distributed and exhibited internationally (e.g. DVD release). There is also a CINESONIKA issue of the academic journal The Soundtrack, which offers significant international exposure to artists featured in CINESONIKA.

Please mail your DVDs to:

SIAT-SFU Surrey Campus
250-13450 102 Ave.
Surrey, BC V3T 0A3

If you have any questions, contact


07 2011

SoundCrawl Nashville 2011

Soundcrawl welcomes audio submissions from composers, sound engineers, sound artists & tinkerers from every corner of the world. To date we’ve received some four hundred submissions from five continents, and brought the best of those pieces to the ears of music city. Our experience in producing this event has led us to the following guidelines:

Length: 7 minutes or less. (our audience is mobile, and prone to wander off during long pieces)

Genres: We accept anything in a fixed digital file, and try to cover our bases for the streams of activity as we see them: synthesis, music concrete, soundscapes & poetry. We also present video art, and are interested in interactive pieces/installations.

File Type: only .aif audio files titled LASTNAME_TITLE.aif will be accepted.

Video files should be h.264 mp4 files also titled LASTNAME_TITLE.mp4

DEADLINE: The Call for Works is open until August 1st, 2011. Selected artists (”SoundCrawlers”) will be notified by September 1st, 2011 and are welcome to attend.

RESIDENCY: there is no residency requirement.

FEES: there is a $5 fee per work submitted.

DISTINCTIVES: SoundCrawl presents the technical specifications of each work selected. Please provide information regarding DAW platform, plugin families, make and model of microphones, etc.

RIGHTS/PERMISSIONS: We produce audio compilations of every festival for sale to help offset costs. We also stream selected works online, and are developing additional avenues to make these incredible works available to an even broader audience. We ask for your permission to include your submitted works in these efforts. We remain committed to the livelihood of our artists through media exposure and commissions, but have found that the administrative costs far outweigh the benefits of managing and distributing royalties. (We tracked and paid royalties our first year and no artist was due more than $1 USD) If you are an artist with representation or an existing distribution deal, feel free to opt out, and we will honor your contracts by omitting your work from the compilations.

Artists interested in submitting work should visit to submit their work.


06 2011

STUDIO 300 Digital Art and Music Festival CALL FOR WORKS

TRANSYLVANIA UNIVERSITY is accepting submissions for the STUDIO 300 Digital Art and Music Festival.  The festival will take place in Lexington, Kentucky, USA on September 16 & 17, 2011.


The Studio 300 Festival explores creative manifestations of technology through concerts and exhibitions of digital art and music.  This year’s festival will feature concerts in Haggin Auditorium, and multimedia gallery exhibits in the Morlan Gallery and the BYTE Gallery kiosk.  Artists and musicians from Lexington and across country will be participating on campus, along with international participants through the BYTE Gallery.  A late night concert will also take place off campus at Al’s Bar.


Submissions must be received by July 15, 2011. There is no submission fee.


Composers and Artists whose works are accepted and programmed for performance in concerts or installations are required to attend in person.  Composers and Artists are expected to provide their own performers if needed.  Hotel discount rates will be available, and participants will receive free admission to all events.  A registration fee of $45.00 is required for participation.  Early registration fee (received before August 6th, 2011) is only $25.00, instead of $45.00.

Composers and Artists whose works are accepted for the BYTE Gallery digital kiosk are not required to attend in person, but are certainly welcome.  Participants in the BYTE Gallery are not required to pay a registration fee.

For more information visit the Studio 300 Digital Art and Music Festival Call for Works.


06 2011

The Flutist’s Field Guide Call for Scores

Internationally acclaimed flutist Nina Assimakopoulos ( (the Laurels Project has commissioned, premiered and recorded over 50 new works for flute. She is requesting the submission of scores to be considered for her new commissioning project:

Title: The Flutist’s Field Guide to Birds, Insects and Flowers of the World

Composers are to use as a programmatic point of entry a type of bird, insect, or flower of the world and include a written description for program notes. Poetry, direct citations from field guides, personal descriptions are examples of sources that may be used.

Pieces selected will be performed at the National Flute Association Convention and on tour in the US and abroad and may be included in a premiere CD recording.

Submission details:
1. Up to three pieces or musical “guides” may be submitted.

2. The maximum duration of each submitted work is 3 minutes.

3. Submissions may be for C, alto, bass flute, or piccolo solo.

4. If desired, submitted works may include fixed media (preferred) or interactive electronics and may also include percussive instruments.

5. The use of any and all extended techniques is possible but more traditional approaches will also be considered.

6. Submitted works must not have been professionally recorded nor received a public performance.

7. Composers are strongly encouraged to submit some form of an audio realization with their score(s). Submissions without audio will be the last to be considered.

8. Submission deadline is February 15, 2012.

9. Please submit all materials electronically (pdf/mp3 format only) to Nina Assimakopoulos:
nassimaflute (at) gmail (dot) com

Please contact the same email address with any questions regarding submission requirements.


06 2011