2011 MATA Festival: CALL FOR SUBMISSIONS

[conventional musical scores, electro-acoustic compositions, digital media works
such as installations and multimedia collaborations]
Postmark Deadline: February 16th, 2010
MATA (Music at the Anthology) is currently accepting submissions from young composers for possible commissions and performances on the 2010 MATA Festival in New York City. Materials for submission must include:

•    Recording (CD) of one or two recent works
   –    We prefer you send two works, however no more than  two may be submitted. Both should be on one CD
   –    If you submit an orchestral work, please also send a chamber or solo work
   –    MIDI recordings will not be accepted
•    Scores to accompany the above recordings (unless scores are not pertinent to your work)
•    Biography or resumé
•    A list of works
•    Contact information
• SASE to accommodate return of ALL submission materials (required)

NOTE: We do not accept submission via email.

Applicants must not have reached their 40th birthday by February 16th, 2010.  Three or four commissions will be offered for the 2010 festival, and commissioning fees will range from $2500 to $6000 depending on the parameters of the work.  Composers are expected to attend the premiere of their piece.  If a composer is not selected for a commission, his or her submitted work will be considered for inclusion on the festival. MATA will consider works of any instrumentation and duration; please send whatever you consider to be your best work.  (If you submit an orchestral work, please also send a chamber or solo piece.)  In addition to traditional instrumental and vocal combinations, MATA also accepts works that include digital media, speaker-based sound pieces, electro-acoustic compositions, and audio/visual presentations. If your performer interface (i.e. sheet music) falls outside conventional notation systems, please include examples and clearly explain its parameters. If your music has been programmed on a MATA Festival, or you have received a Festival commission, you must wait three years before re-applying. Only one commission will be awarded to any one composer in his or her lifetime. If your work has been performed on the MATA Interval series you are still eligable to apply. To submit or for more information, contact:

MATA
293 Warren Street, #2
Brooklyn, NY 11201

Tel: (212) 563-5124
Email: info@matafestival.org
Web: www.matafestival.org
ABOUT MATA
MATA is a non-profit organization that has, for the past thirteen years, been dedicated to commissioning and presenting works by young composers from around the world. MATA’s directors are motivated by a desire to create community among young musicians, especially those whose work defies definition and doesn’t fit into existing institutions. By providing young composers with a professional performance of their work, access to first-rate performers and valuable connections to colleagues, MATA nurtures their entry into American musical life.
Founded in 1996 by Philip Glass, Eleonor Sandresky, and Lisa Bielawa, MATA presents pieces by young composers on a week-long festival, held each spring in New York City. This festival always features several works that MATA has commissioned specifically for the festival, performed by professional musicians from around the world. In 2007 MATA initiated Interval, a bi-monthly concert series dedicated to young composers presented in conjunction with Brooklyn venue Issue Project Room. Each concert on the Interval series is curated by participants in our Curatorial Associate Program, a paid internship designed to teach young artists the basics of concert production and arts administration. To date, MATA has commissioned over 50 works, and has presented over 250 performances of pieces by young composers. Performers on past MATA festivals have included the Boston Modern Orchestra Project, Gamelan Son of Lion, The Knights Chamber Orchestra, So Percussion, Nouvelle Ensemble Moderne, Either/Or, NOW Ensemble, Newspeak, VOX Vocal Ensemble, the Brooklyn Youth Chorus, and many more.

Composers who have been commissioned or presented by MATA early in their careers include Pulitzer-prize winner Jennifer Higdon, Derek Bermel, Yotam Haber, Annie Gosfield, Julia Wolfe, and Randall Woolf.

MATA holds an annual open call for scores, from which a panel of established composers selects composers who will participate in that year’s festival. For most of these composers, the performance of their work on the MATA Festival represents one of their first commissions, and their first significant exposure to New York audiences. MATA prides itself on giving young composers an outlet for their work, thereby helping them aquire the skills necessary to begin their musical career.

 
Eighth International Competition for Composers
Citta’ di Udine

RULES AND CONDITIONS

Art. 1 TEM – Taukay Edizioni Musicali and Delta Produzioni Associazione Culturale, with the participation of the Presidente della Repubblica, and the support of the Ministero per i Beni e le Attivita’ Culturali, the Italian National UNESCO Commission, the Comune di Udine and the Universita’ degli Studi di Udine, hereby open the Eighth International Competition for Composers “Citta’ di Udine”.

Art. 2 The competition is divided in two sections:
– instrumental compositions for chamber orchestra
– electro-acoustic music.

Art. 3 The competition will accept unpublished compositions by musicians of any nationality and of any age. Previously performed compositions will be accepted. Compositions must be sent anonymously as explained below.

Art. 4 Section for compositions for chamber orchestra.
Pieces should not exceed eight minutes in length, however consideration will be given to compositions which exceed this length if, in the opinion of the jury, they are of particular artistic merit. The jury’s decision on this matter is final.

The instrumental group is made up of:
– a string quartet (2 violins, viola and cello)
– piano
– flute (piccolo, alto flute, and bass flute) / one performer
– clarinet (clarinet in E flat, clarinet in B flat, clarinet in A and bass clarinet) / one performer
– percussion instruments from the following list: vibraphone, glockenspiel, tom toms (max 5 pieces) suspended cymbals, tam tam, templeblocks, small percussion instruments such as triangle, wood blocks, maracas etc. / one performer
– instruments listed above may be used in any combination
– if desired, just one instrument may be used
– it is possible to use a stereo audio track on DAT or CD in the performance of the chamber orchestra
– six copies of each score must be sent for the section of compositions for the chamber orchestra
– each of the six copies must contain the title of the composition, but must not contain the name of the composer
– information regarding the name of the composer must be placed in a sealed envelope and placed in a folder together with the scores
– should the score be selected for performance, the composer must supply separate scores for individual instruments
– scores will not be returned
– should works contain unknown symbols or marks, the composer must provide explanatory notes in order that the work can be understood correctly.

Art. 5 Electro-acoustic music section
Electro-acoustic musical compositions must have a duration of less than ten minutes and must be presented in stereo on DAT or compact disc. Any multi-channel versions of the composition should be sent along with the stereo version.
– only one copy of each composition need be sent for the Electro-acoustic music section.
– the DAT or CD being entered must contain the title of the composition, but must not contain the name of the composer
– information regarding the name of the composer must be placed in a sealed envelope and placed in a folder together with the composition being entered.

Art. 6 More than one composition may be submitted.

Art. 7 The Jury will select the winners from a shortlist of finalists and will award the following prizes:
– Best composition in the section “Instrumental compositions for chamber orchestra”: one thousand Euro (1000 Euro).
– Best composition in the section “Electro- acoustic music”: one thousand Euro (1000 Euro).
– Special prize “Piero Pezze'” (founded by his heirs in memory of the Friulano composer who passed away in 1980): seven hundred Euro (700 Euro).
– Special mention with the awarding of the medal offered by the Presidente della Repubblica Italiana for this edition of the event.
– Public performance of 6-8 of the best compositions entered (Udine, October 2010).
– Production of a CD of the concert in October and inclusion of this in the TEM – Taukay Edizioni Musicali catalogue.
The two winning compositions will be broadcast by RAI Radio as part of the national programming of the RAI Radiotre Suite dedicated to contemporary music.
TEM – Taukay Edizioni Musicali, following the indications of the Jury and in agreement with the composer, offers to include and make available the most interesting compositions as part of their electronic catalogue of New Music.

Art. 8 Submitted works which include an audio recording of the composition may be included in the programming of Taukay Web Radio. The choice of compositions to be broadcast will be decided in accordance with the editorial direction of the broadcaster (http://radio.taukay.it).

Art. 9 Works should be posted to the competition secretary at:
TEM – Taukay Edizioni Musicali – via del Torre 57/5 – 33047 Remanzacco (Ud) – ITALY
The closing date is 30 April 2010. The postmark will be deemed to be the date of submission.
The final decision of the jury will be made public by 31st July 2010.

Art. 10 The jury reserves the right to refuse any entry which does not fulfil the indicated requirements.

Art. 11 Each individual composition in each section must be sent together with the receipt for the payment of the entry fee of thirty euros (euros 30). If multiple compositions are sent, a single payment may be made for the total of the combined entry fees. The fee should be paid in the following ways:

From Italy:
– vaglia postale paid to: Taukay Edizioni Musicali – via del Torre 57/5 – 33047 Remanzacco (UD) – ITALIA
– by credit card using the following link: http://www.taukay.it/2010/competition-en.html
– by bank transfer using the following banking coordinates: IT 81 P 02008 12325 000040780136
UNICREDIT BANCA – Agenzia Udine del Ledra

From outside Italy:
– by credit card using the following link: http://www.taukay.it/2010/competition-en.html
– by bank transfer using the following international banking coordinates:
BIC SWIFT code: UNCRITB1N46
International bank account: IT 81 P 02008 12325 000040780136
UNICREDIT BANCA – Agenzia Udine del Ledra
– for information about other payment methods please e-mail: competition@taukay.it
Where possible, the “reason for payment” should indicate: Ottavo Concorso “Citta’ di Udine”.

Art. 12 The file containing the composition must include a sealed envelope containing the following personal information (a printable entry form can be downloaded at: http://www.taukay.it/2010/competition-en.html:
– name, surname, date and place of birth, sex, nationality, address, telephone number, e-mail address, section being entered, title, date and length of composition.
– a statement certifying that the submitted composition is unpublished
– a statement agreeing to permit the performance of the composition to be broadcast or telecast and archived without compensation
– a statement agreeing to the treatment of personal information in accordance with Italian privacy laws. (D. Lgs. 196/03 – Codice in materia di Privacy).
The following material must also be included:
– curriculum vitae and studiorum
– photocopy of identification document of the composer
– recent photograph of the composer
– receipt for the entry fee of 30 Euro

Art. 13 The Jury’s decision is final.

Art. 14 By entering the competition and submitting the composition, the composer accepts all the above terms and conditions.
Failing to follow the above terms and conditions will result in the forfeiting of any rights deriving from participation in the competition.

Art. 15 The competent court for any dispute is the Court of Udine.
For further information, please visit the TEM – Taukay Edizioni Musicali website at: http://www.taukay.it
Or email us at: competition@taukay.it

 CALL FOR WORS – ICMC 2010 <RED Edition>

Stony Brook University, in association with New York University, and  
the Electronic Music Foundation of New York City, will host the  
International Computer Music Conference (ICMC) in New York City and  
Stony Brook, NY, USA from June 1-5 2010.

CALL FOR PAPERS

The International Computer Music Conference (ICMC) 2010 invites  
submissions for paper sessions. Our theme this year is: Research,  
Education and Discovery.  We thus encourage papers (long or short),  
posters, and demonstrations in these three categories:
Research: current projects in the field of computer music
Education: with a special emphasis on studio reports (see below)
Discovery: submitting papers (long or short) and musical works in  
pairs (see below)

Submission Qualifications and Deadlines (for all categories):

This call is open to all regardless of nationality, age, or career stage.
Submission work(s) must be completed online at:  
<http://www.icmc2010.org/submissions>
Deadline for submission is December 31st, 2009
Notification of selected papers will be announced on: Feb 15
Authors will be notified of the results by email.  Results will also  
be posted on : <www.icmc2010.org/program>

Submission Types

Please submit PDFs for the following presentation categories:
•Short Paper (4 pages maximum in Proceedings, 20 minutes lecture presentation)
•Long Paper (8 pages maximum in Proceedings, 30 minutes lecture presentation)
•Poster (4 pages maximum in Proceedings)
•Demonstration (4 pages maximum in Proceedings)
•Piece Plus Paper (either 4 or 8 pages in Proceedings, performance at  
a concert plus lecture presentation or panel discussion)
•UnConference (One page description)

We may recommend that submissions change category as part of the  
review process.

Papers selected for lecture presentation will be allotted either 20-  
or 30-minutes during technical sessions. They should form a  
substantial contribution to the field and must be accompanied by a  
written paper submission, which may be up to 4 (short) or 8 (long)  
pages including images and references. Posters and demonstrations are  
a forum for discussion of work-in-progress and/or significant or  
important results that are better suited for more interactive  
presentation. They must be accompanied by a written paper submission  
of up to 4 pages in length including images and references. Posters  
will be presented on a single A0 size sheet during a poster session.  
Demonstrations will be presented in a classroom setting.

All submissions will be subject to review by an international panel of  
experts in the field of computer music. At least one of the  
authors/composers must present the work at the conference (and pay the  
registration fee) for it to appear in the proceedings.

Submission Topics

•General content areas include but are not limited to:
•Digital Audio Signal Processing
•Sound Synthesis and Analysis
•Music Analysis
•Music Information Retrieval
•Representation and Models for Computer Music
•Artificial Intelligence and Music
•Languages for Computer Music
•Printing and Optical Recognition of Music
•Mathematical Music Theory
•Psychoacoustics, Music Perception
•Acoustics of Music
•Aesthetics, Philosophy and Criticism of Music
•History of Electroacoustic Music
•Computer Systems in Music Education
•Composition Systems and Techniques
•Interactive Performance Systems
•Software and Hardware Systems
•General and Miscellaneous Issues in Computer Music
•Studio Reports

Studio Reports

We strongly encourage Studio Report submissions this year. We will be  
using a new and improved format: All accepted studios will get up to 4  
pages to be included in the proceedings, a short introductory  
highlight talk, followed by a special studio joint poster session and  
exchange forum.

Piece Plus Paper

This newly established category will receive submissions that pair  
original music with documentation exposing the process of composition  
and/or technical elements specific to the creation of the work. A  
concert featuring selected works will be given, preceded by a paper  
session and followed by a panel discussion. This format, developed in  
response to ongoing discussion within the computer music community,  
will provide a vehicle for music that can be more deeply experienced  
following an introduction, as well as a forum for ideas that can be  
more fully entertained after hearing music.

UnConference

The UnConference will be a more informal gathering of artists,  
thinkers, dreamers, and other trouble makers all focused on digital  
technologies, electronic arts, and music. Participants will have the  
opportunity to share their work with peers in an informal setting.   
The UnConference will take place daily in the EMF offices and the Wang  
Center Chapel. We are looking for topics of discussion – please submit  
up to 1 page which will be printed in the proceedings.

More information can be found at: <www.icmc2010.org>

Please address any questions regarding the call for works to:  
<submissions@icmc2010.org>

—–

CALL FOR SONIC WORKS

The International Computer Music Conference (ICMC) 2010 invites  
submissions of musical works (very broadly defined) for presentation  
at the Conference. Our theme this year is: Research, Education and  
Discovery.

Composers can submit up to three works, in one of seven categories:

•ICMC Conference concerts, to be held at Stony Brook University and  
New York University: works with and without performers, including  
possible dancers.

•Piece Plus Paper (either 4 or 8 pages in Proceedings, performance at  
a concert plus lecture presentation or panel discussion)

•Ear to the Earth Concerts, Presented by the Electronic Music  
Foundation: works with and without performers.

•Red Light after-hours concerts: works appropriate for a club atmosphere.

•60 x 60: one-minute (or shorter) works for fixed media sound.

•Installations

•Alternative Event Programming

For more detailed descriptions, please see below.

If a composer submits three musical works, one must be in the 60 x 60  
category (one minute or less).

We may recommend that submissions change category as part of the  
review process.

Submission Qualifications and Deadlines (for all categories):

This call is open to all composers regardless of nationality, age, or  
career stage.
Submission work(s) must be completed online at:  
<http://www.icmc2010.org/submissions>
Deadline for submission is December 31st, 2009
Notification of selected works will be announced on: Feb 15
Artists will be notified of the results by email.  Results will also  
be posted on : <www.icmc2010.org/program>

More information can be found at: <www.icmc2010.org>
Please address any questions regarding the call for works to:  
<submissions@icmc2010.org>

Submission Materials (for all categories):

All submissions will be subject to blind review by an international  
panel of experts in the field of computer music with access to all  
submitted materials online. Composers/Installation Artists who wish to  
have their pieces performed/installed at the conference music register  
for the conference.  Final deadlines for media and any other  
performance material as applicable (including scores and parts) must  
be met if a piece is to be programmed, in order to facilitate  
rehearsals and technical organization for the concerts.

Attendance by the composer is highly encouraged but not absolutely  
required. However, the performance may be cancelled if any of the  
following occur: 1. the music and necessary performance materials  
(score, software, …) are not submitted by the “Final Music”  
deadline; 2. associated software does not function properly; or 3. the  
documentation is not complete enough to allow the piece to be properly  
rehearsed and performed. Final dress rehearsals / sound checks will be  
scheduled on the day of the concert.

Artists submitting works should create and submit MP3-formatted audio  
files or MP4-formatted video files of their pieces; in order to  
facilitate blind jury review, we ask that artists not include title  
slides or ID3 tags on their media.  Technical specifications for  
performance and performer scores should be submitted as well, in PDF  
format. Submissions for 60×60 should be in AIFF format, the accepted  
pieces will be mixed directly onto a CD. Installation proposals must  
include a spatial/physical diagram as well as specify the equipment  
provided by the artist/composer versus the equipment to be provided by  
the venue.

Submissions must include:
• Biography (250 words maximum)
• Program Notes/ Project Description (350 words maximum)
• Contact information
• MP3-formatted audio files or MP4-formatted video files or AIFF for  
60×60 submission
• Performers required (if applicable)
• Performer scores, in PDF (if applicable)
• Technical specifications, in PDF and spatial diagram for  
installation submission

ICMC Conference Concerts

Special emphasis is put on works integrating interactive technology /  
live multimedia and traditional music performance, with an aim towards  
expanding and reinvigorating notions of “liveness” in computer music.

We welcome submissions in the form of:
•Works for fixed playback media (up to 12.2-channel sound).
•Works for instrumental performers and electronics (playback or interactive)
•Works for composer/performers working with alternative controllers  
and new interactive technologies.
•Works for multimedia performance involving video or other mixed media.
•Works for interactive choreography.

A list of available performers can be found below.  Different venues  
throughout the conference will have different technical capabilities,  
and the concerts will be curated (post-jury) to ensure the most  
appropriate venue for each work.

Stony Brook Contemporary Chamber Players:
  String quartet, double bass, 2  pianists, woodwind quartet,
  brass trio, 4 percussionists, and 1 guitarist.

Guest Musicians:
  Shaiu-uen Ding, piano
  Mari Kimura, violin
  Jessica Powell, bass / viola di gamba
  Tabor : wind quintet featuring Karisa Werdon
  Tornado : featuring Esther Lamneck, clarinet & Elizabeth McNutt, flute
  David Wetzel, Bass Clarinet and Basset Horn

PLEASE NOTE:  Current plans are for ICMC 2010 to feature a concert of  
modern dance performances created for ICMC musical submissions. Six to  
eight NYC choreographers will select works from among those accepted  
to the conference, and create new dance works to be premiered in Stony  
Brook University’s Wang Center. Please indicate on your submission if  
you would be interested in this opportunity.

PLEASE NOTE:  In an effort to support the work of the computer music  
community VRSonic, a spatial audio technology company, is pleased to  
provide the new VibeStudio Designer 2 spatialization software and 12.2  
speaker array for the 2010 International Computer Music Conference.   
Two of the halls will be equipped with a 12.2 Klein and Hummel system  
for playback.  Accepted composers will receive a subscription to the  
VibeStudio Designer 2 software suite for PC allowing them to work with  
the software throughout the duration of the composition/diffusion  
process and concert.  VRSonic’s VibeStudio Designer 2 is a spatial  
audio design suite comprised of the VibeStation and Profiler  
applications. Both applications rest on top of the audio modeling and  
rendering engine SoundScape3D. VibeStudio Designer 2 includes a design  
and runtime application, VibeStation,  that provides a comprehensive  
editing suite for the creation of immersive audio environments. Please  
indicate on your submission if you would be interested in this  
opportunity.

Piece Plus Paper

This newly established category will receive submissions that pair  
original music with documentation exposing the process of composition  
and/or technical elements specific to the creation of the work. A  
concert featuring selected works will be given, preceded by a paper  
session and followed by a panel discussion. This format, developed in  
response to ongoing discussion within the computer music community,  
will provide a vehicle for music that can be more deeply experienced  
following an introduction, as well as a forum for ideas that can be  
more fully entertained after hearing music.

Ear to the Earth

Ear to the Earth is a worldwide network based on the idea that  
environmental sound can connect us to the environment with a special  
vibrancy and emotional depth. Our goal is to heighten environmental  
awareness through sound, inspire engagement in environmental issues,  
and sustain engagement through ongoing activities. We present  
festivals, concerts, forums, and other events dealing with  
environmental sound.

We invite proposals for presentation for two Ear to the Earth Concerts  
at the ICMC, including works in progress as well as finished works,  
including music, documentary recordings, multimedia presentations, or  
other formats with content that relates to the environment. These  
concerts  will be produced by EMF and presented at Judson Church.

“Red Light” After-Hours Concerts

ICMC 2010 <RED Edition> is seeking experimental electronic music  
performances for its “Red Light” After-Hours club-style concerts.  
Performers of various styles will be considered, including those  
influenced by IDM, hip-hop, glitch, jazz, electronica, trance,  
ambient, etc.  Performance venues will provide equipment for stereo  
sound and live video. Please note that performances in this series are  
in a club atmosphere and performances should be appropriate to the  
setting.

Please note: in this category, performers are not provided – composers  
must bring (or be) their own performers.

60×60

Instead of a listening room,  ICMC 2010 <RED Edition> will be pairing  
with 60×60.  60×60 curates and presents 60 one minute recorded works  
by 60 different composers, synchronized to an analog clock creating an  
exciting seamless hour of electronic music representing a  
cross-section of the contemporary music scene.

In 2010, 60×60 is collaborating with ICMC to create a six concert  
series of 360 works by different composers. Submissions to the 60×60  
project will be simultaneous submissions for this special mix,  
60×60:360 degrees. This bold new mix is designed to represent the many  
styles, aesthetics, and methods the world uses today to create  
electronic music.

Please note: 60×60 submissions should be in AIFF format. These files  
will be used to create the mixes for the concerts.

Installation

ICMC 2010 <Red Edition> seeks art gallery installations with no fixed  
duration as well as site-specific works. Works must feature original  
sound/processing as a central element though they may and hopefully  
will include other media or physical components; works with  
interactive elements are strongly encouraged. Call is open to visual  
artists with a strong sonic component as well as to composers.

Submissions must include audio-visual documentation of previously  
realized versions of the work, or documentation of the work in  
progress.  Please include a list of required equipment and be sure to  
indicate what will be provided by the artist/composer.

Alternative Event Programming

What kinds of events, spaces and experiences would you like to  
see/hear at this year’s ICMC?

We want to hear your proposals: boat concerts, all-night listening  
events, site-specific installations, soundwalks, internet pieces,  
beach operas, multi-sensory offerings, etc.  We are interested in  
proposals that stretch the boundaries of what computer music is  
considered to be, and where it is expected to be encountered.

Proposals for alternative programming can be submitted by individuals  
or groups.  Should a selected event require additional calls for  
participation (such as a call for works for a nighttime listening  
event, or for librettos for a site-specific opera), these calls will  
be posted on the ICMC 2010 website, and publicized through appropriate  
list-serves.

Note that these events are intended to complement traditional ICMC  
offerings, and will not be scheduled at times that would conflict with  
the core juried events.  Note also that individuals, and at least one  
member of groups, whose submissions are accepted, will be required to  
register for the full conference.  Any additional participants may  
register at the “Alternatives” rate for access to 60×60 concerts,  
evening concerts and alternative events.  Finally, if your proposals  
is accepted, note that you will be in charge of making it happen  
(including equipment and logistical needs), with the ICMCs support and  
facilitation.

To apply to the Alternative Event Programming:

Proposals should include up to five paragraphs describing the proposed  
event, technical specifications, up to three past works (in links or  
in above formats). Please also include in your proposal one paragraph  
detailing past experience with events of a similar scope.

More information can be found at: <www.icmc2010.org>
Any questions regarding the call for works can be addressed to:  
<submissions@icmc2010.org>