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Call For Proposals: Melange 11.0

Posted by The Salty Cricket Composer's Collective ; Posted on 
Call for Artists - DEADLINE :  
Call For Proposals: Melange 11.0
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The Salty Cricket Composers Collective welcomes proposals for the November, 14th, 2019 concert; “Melange 11.0.”  Composer and Performer/s are encouraged to submit proposals for Electronic, Experimental and Game pieces as well as all types of standard scores.  Composers must be Utah based. Proposals are due on Monday 09/12/19: nathaniel@saltycricket.org.

Submission Guidelines

Proposals are welcome that feature composers currently residing in Utah and/or enrolled in a university in the state of Utah.
The submissions deadline is Monday, September 12, 2019. Late submissions are considered on a case-by-case basis.
Proposals must include a short description of the piece. This description should include, but not be limited to, instrumentation/number of performers, use of electronics, props, and other sound equipment beyond what is stated below.
a. Salty Cricket will provide a piano for composers to include in their proposals

b. Salty Cricket will provide stereo speakers and a sound system; the composer
is responsible for providing all other equipment.
4. Composer, or performer/s, submitting proposals assume all responsibility for any
fees associated with the performance i.e. performers. Salty Cricket will provide the
venue, piano, recording and program printing fees.
5. If selected, composers must agree to the following to guarantee a performance.
a. Proof of commitment from performers.
b. Any and all intellectual property not held by the composer (texts, samples,
etc.) has been approved for use.
c. Selected composers shall attend the concert.

How to Submit:

1. Electronic Submissions Only: interested composers should apply to <<Nathaniel@saltycricket.org>> by September 12th, 2019.

The application should include the following:

A PDF copy of the proposal, score, with all requisite performance notes.
(Optional) A recording, as an MP3 or online link. MIDI mockups and rough reading sessions are permissible; the quality of the recording will not be a factor in the score selection process.
Work details, including title, duration, instrumentation (indicating all doublings), and any necessary equipment; as well as performance and publication history.
Short (100–150 words each) program notes and composer bio, acceptable for printed programs.
Contact information, including full name, phone number, email, and physical address.

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