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The following is a lecture I will be delivering to the 2010 Interamerican Festival for the Arts on September 2 in San Juan, Puerto Rico. I am indebted to Christian Carey for editorial help.
Guerrilla campaigns, although defined most famously, perhaps, by that controversial icon of our neighbor to the northwest, Ernesto “Che” Guevara, have occurred throughout history on occasions when a small fighting force has faced off against a larger and more powerful opponent. Guerrilla fighters can, after a battle, easily blend back in with the general population, making it extremely difficult for the opposing forces to identify and strike at them, thus helping their efforts both militarily and politically. But, what do I mean by “guerrilla new music?”
In music today, so-called “classical” music or concert music, it’s safe to say, is a niche art form. The majority of the population is largely unaware of this rich and varied repertoire and concert music has thus become less commercially viable than it was, say, in the mid-20th century and thus less culturally relevant. If we judge this solely on sales statistics of recorded music (themselves tricky at a time when the record industry in general is in flux) we find the sobering—if unsurprising—statistic that classical music constitutes a mere 3% of total record sales with, as Anne Midgette puts it, “sales of 200 or 300 units [being] enough to land an album in the top 10.” Within this cultural niche, contemporary music is itself a niche, new or “modern” music having a reputation for difficult thorniness. The contemporary composer, and those performers who specialize in contemporary concert music, need to adopt, then, a position similar to that of guerrilla fighters in order not just to survive in the field, but to thrive and, hopefully (and ideally), change hearts and minds.
I am using a somewhat violent analogy. Music, thankfully, is not warfare and cooperation, not violence, is our methodology. Indeed, what I call for when I speak of “guerrilla new music” is a methodology based and dependent on an attitude adjustment towards new music and its presentation. This is a position that is gaining strong ground in the new music field and is quickly being noticed by more traditional “classical” music organizations.
Much has been made of late of the so-called “alt-classical” movement, particularly as represented by composers like Missy Mazzoli, Judd Greenstein and Ted Hearne, ensembles such as Flexible Music, the International Contemporary Ensemble (ICE), eighth blackbird and Alarm Will Sound, and the New Amsterdam record label in New York. This movement, if it may be called one, seeks to blur the boundaries between popular and concert music (or high and low art) and its exponents write and perform music that is often difficult to comfortably classify within a single genre. Genre Distinctions are nonexistent to the alt-classical composer.
My own ensemble, Great Noise Ensemble, has been associated with this movement by at least one critic (and one documentary filmmaker). I am not entirely comfortable with this association, although that is primarily because of my own inability as a composer to move fluidly among genres, even while accepting influences from music other than concert music. I do, however, feel solidarity with these artists in at least one sense: “classical” music is not the art of dead men, performed incredibly formally by people dressed very uncomfortably.
No, “classical” music is a LIVING art form. It is continually evolving in ways that often resist labels. We music guerrillas seek to reclaim it from the museum culture that has prevailed in the concert hall since the mid-19th century, a museum culture that has treated the concert hall as a surrogate church and in the process cheapened music’s very transcendence by slowly alienating it from its audience. The very term “classical” implies an unchanging structure, possibly made of marble, set and immovable. It is ANATHEMA to what we, as artists, do and seek to accomplish!
It is not the sense of the canon, however, that the Guerrilla Musician must repudiate. We must learn from the past and embrace it even as we experiment in new directions. We must learn from the errors of Modernism and its attitude of never glancing backwards. The music of the future will take care of itself, just as the music of the past has taken care of itself. We must write the music of the PRESENT.
The ideal Guerrilla Musician, like the guerrilla fighter, must be flexible. Guerrilla Musicians are just as comfortable performing the classics by Mozart, Beethoven and the other usual suspects as they are those by John Adams, Bryan Ferneyhough, Ken Ueno, Jennifer Higdon, Roberto Sierraor Frank Zappa. The Guerrilla Musician thus rejoins the population and becomes embedded within an established musical culture, fighting to change it from within.
The Guerrilla Musician must be a polyglot. Ours is a global concert hall and we must be conversant, if not even fluent, in languages other than our own. The Guerrilla Musicians in Great Noise Ensemble are known to perform and/or engage in scholarship about traditions as varied as North African and Middle Eastern music, rock, jazz, salsa, Indian raga and various folk musics. Our compatriots in the alt-classical movement are equally conversant in electronica, country, hip hop and other such vernacular styles. The Guerrilla Musician is as comfortable in the concert hall as s/he is in the night club.
The Guerrilla Musician must welcome his/her audience. S/He must challenge and uplift, educate and entertain, but s/he must NEVER alienate his/her audience. The tuxedo—especially the tail tuxedo—must NOT be a part of the Guerrilla Musician’s gear except when s/he is infiltrating the museum.
I have been rather intransigent in my language so far. My nature is not belligerent, although I am very passionate about this issue and this attitude’s power to resuscitate the apparently moribund concert music scene. I should clarify that I do not intend to or advocate the “destruction” of the “museum.” Museums are very nice places and have their place in society. They provide a way for us to experience and learn from the living art of the past. The symphony orchestra, the repertory opera company and the chamber music and recital series have their place in our world and must not be repudiated. They can, however, be transformed by the Guerrilla spirit and be revitalized by it. The Guerrilla Musician can have his cake and eat it, too.
The Guerrilla Musician must be savvy. S/He must not rely solely on government funding for financial support or on the traditional print media for critical and promotional support. We have at our disposal incredible new resources of media dissemination and audience building that have democratized opinion and taste. At very little expense, the Guerrilla Musician can advertise through social media in a way that would have required an extensive support network just fifteen years ago. We must learn to use these tools to our advantage and to the advantage of our art. Through the use of Facebook, My Space, Linkdin and Reverb Nation I, personally, have been able to expand my reach as a composer and develop relationships with musicians, presenters and promoters across the globe, yielding opportunities throughout the United States, Germany, Denmark, Holland and the United Kingdom. Great Noise Ensemble itself was founded using social media in the form of a simple classified ad on the web site Craig’s List.com and we have used services like Google and Facebook to expand our audience through online advertising and press releases.
The world is changing rapidly. Musicians have lost many of the formerly existing avenues for the promotion and dissemination of their work. Musicians, however, are nothing if not adaptable. A guerrilla sensibility as I define it is crucial for the survival of the contemporary musician. Mere survival, however, is not the Guerrilla Musician’s goal. No. His/her goal should be the total transformation of our musical culture. If art reflects the soul of a nation, then it is our patriotic responsibility to create art that represents the type of soul we want our nation to have. Just as man cannot live on bread alone, neither can he live solely on Lady Gaga. A spiritually healthy nation is a nation with a polyglot audience, and a polyglot audience, like a Guerrilla Musician, should be flexible, savvy, smart and as comfortable in the concert hall as they are in the night club. Contemporary musicians, especially composers, have long failed our audience by sitting in a corner lamenting our state and letting a single strain of our varied and exciting musical traditions control the marketplace. Contemporary music may never share as large a share of that marketplace as the top 40 (or its 21st century equivalent), but through guerrilla music making we can reclaim a more prominent place in that market and in the cultural life of our nation.
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Speaking of competitions:
Seattle Symphony Celebrate Asia! announces its first Seattle Symphony Celebrate Asia! Composer Competition. The Competition seeks to promote young composers who are interested in Asian culture, music and traditions.
In partnership with numerous local community groups, Seattle Symphony honors and celebrates Seattle’s Asian community with an annual Celebrate Asia! event. The concept originated in 2008, when local Asian leaders wanted to find a way to strengthen bonds with the broader community through a cultural celebration. Celebrate Asia! is part of Seattle Symphony’s Around the World series.
Seattle Symphony, presenting its 108th season, has been under the artistic leadership of Music Director Gerard Schwarz since 1985. Maestro Schwarz has led Seattle Symphony to international prominence, with more than 125 recordings, 12 Grammy nominations, 2 Emmys and numerous awards. Maestro Schwarz celebrates his Farewell Season as Music Director in 2010–2011, after which he will become Conductor Laureate. Newly named Music Director Designate Ludovic Morlot will begin his role as Music Director in the 2011–2012 season. The Orchestra performs in the acoustically superb Benaroya Hall in downtown Seattle. The Symphony is internationally recognized for its adventurous programming of contemporary works, its devotion to the classics, and its extensive recording history. From September through July, the Symphony is heard live by more than 315,000 people.
Award and Performance
The winning composer will receive a $1,000 cash award and an opportunity to visit Seattle for the world premiere. The winning score will be performed by Seattle Symphony and conductor Carolyn Kuan on January 14, 2011, in Benaroya Hall at the annual Celebrate Asia! concert.
All composers born after January 1, 1968, are eligible.
Gerard Schwarz, Seattle Symphony Music Director
Elena Dubinets, Seattle Symphony Vice President of Artistic Planning
Carolyn Kuan, Celebrate Asia! Conductor
Samuel Jones, Seattle Symphony Composer in Residence
Entry Fee and Deadline
- Works must have Asian influences (for example: Asian folk melodies, Asian stories and legends, Asian traditional instruments).
- Works must be original and accessible.
- Works should be 3 to 6 minutes in duration. (30 minutes rehearsal time is currently scheduled for the composition.)
- Works should be for orchestra or chamber orchestra with instrumentation no larger than 3333 – 4331 – T+3 – hp – kybd – str. Woodwind doublings are allowed.
- Interested composers should submit:
- - A legible, bound, full score
- - A recording of the piece on a CD (midi-format is OK)
- - A clear description of the composition’s Asian influence(s)
- - A biography, with current address, e-mail address, and phone number
- - If selected, professionally prepared parts will be required 60 days before the concert.
There is no entry fee. All entries must arrive no later than Friday, September 24, 2010. Seattle Symphony Celebrate Asia! is not responsible for lost or damaged material. The winning composition will be announced before Friday, October 22, 2010.
Send submission to:
Seattle Symphony Celebrate Asia! Composer Competition
ATTN: Amy Stagno
P.O. Box 21906
Seattle, WA 98111-3669
Questions and inquiries may be emailed to: firstname.lastname@example.org
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I am having trouble starting this piece. I’m almost done with it, in fact, but I can’t seem to get it started. It is a piece for an unusual combination, commissioned by the Amsterdam based ensemble, Hexnut, which specializes in a kind of jazz and world music inspired style of performance that is frenetic and more than a little theatrical. After a few false starts that led to a drastic change in the piece’s concept, I arrived at a solution of what the piece should be: a set of eight, short (none more than 2 minutes, one is only 15 seconds long) pieces each commenting on an etching from Francisco de Goya’s 1799 collection, Los Caprichos.
The piece has been written largely out of order, but, as the individual movements have been completed I’ve managed to collect them in a cohesive and I hope dramatically satisfying order. I still need, however, an opener, and that’s where I’ve gotten stuck. Ugh!
It’s not unusual for me to get stuck at the beginning. I used to compose from beginning to end. Certain pieces still work out that way, in fact, but increasingly I find it easier to pick up a piece in media res and build outwards from the middle, towards the edges. Working in this way helps me to organize my musical materials effectively and organically without having to work out the opening or ending of a piece right away. Endings are easy to write, for me at least, especially once I have the middle, since that tends to dictate the direction my pieces need to head towards. Openings, on the other hand, are quite difficult, I find. They need to both draw the audience into the performance of a work and set up the musical argument to come. A lot is made out of effective endings, but an effective opening is, if not more important, at least just as important .
How do you do it?
I’ve been following the Bravo TV reality series, “Work of Art: The Next Great Artist” (fifth episode this week). It tracks a group of young-ish artists, most of whom have already been exhibited, and assigns them a fresh project each week to be conceived and completed in about 1.5 days.
The completed works are then displayed in a private gallery showing, followed by a critique from a panel of judges (a core of regulars, plus one fresh prominent figure per week; one week it was Andres Serrano.) The projects range from utilitarian-but-arty (design a book cover for a classic novel re-issue) to almost-unspecified (“do something outrageous”), and at times the artists receive their assignments by lot, with no say as to the subject agreeing with their own affinities (or preferred medium).
Although it’s the usual winnowing-out design typical of such programs — and I don’t at all care who gets tapped as eventual winner — I’d pinpoint the same two interesting elements within each hour-long segment:
• The very different processes each of the artists follows in interpreting the assigned project. These are profiled in some detail — surprise! — and follow the gradual development of each new work. This manages to take up a big slice of the program, some 20+ minutes. It’s exhilarating to see cameras paying attention to a working-out that stems from labor which is primarily ‘head-work’. And rare.
• A refrain in the judges’ comments, present virtually every week: that the works they find successful do *in some respect* provide for viewers to respond to the piece — and actively. (For example, they very much admired works in which the artist incorporated a mirror, or sign-in boards to register comment, or placed him/herself actually physically into the piece; etc.)
Of course the judges want the artist’s individual personality to be expressed in the piece; but beyond that, and far from an auteur context where a viewer is only meant to “receive” an utterly complete document, the judges want the art to invite the viewer to respond, so that the work is ‘incomplete’ unless and until someone reacts to it in a way that registers to other viewers. (This forested tree demands the listening ear be there! so its fall can be heard.)
There’s plenty of opinion flying about throughout the episode — in addition to the judges, the artists themselves comment liberally on one another’s work throughout the show. If you pay no mind to the trumped-up personality conflicts and the bland or fatuous criticism (or the commercials), the show can be worth screening.
The level of the works — particularly those by three of the competitors still ‘alive’ — is certainly professional. And the prize is $100,000, plus a solo show at the Brooklyn Museum. Sarah Jessica Parker is one of the program originators.
Would that composers could reap the same on-camera attention for our head-scratching hours…!
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NOW it’s an Event!
On Wednesday, June 16, the Peabody Institute (where I teach in the music theory department) approved the budget for a theory department sponsored residency for Louis Andriessen in association with Great Noise Ensemble’s performance of De Materie on October 24, 2010. That means that for the week preceding our performance (we’ve yet to finalize dates for the Peabody events as of this writing, so stay tuned) Louis will be in residence at the Peabody working with students in my graduate Minimalism seminar, giving a lecture to the composition seminar and other activities similar activities as yet to be determined. We will also have the pleasure (both exciting and slightly terrifying to me) of having him present at rehearsals for Materie in Washington as well as at the final performance, not to mention a second performance of Andriessen’s music in Baltimore with student ensembles from the Peabody Institute.
Yep, it’s an event all right!
A Matter of Publishing
Putting on a work like De Materie is a COMPLICATED endeavor! In order to perform this piece Great Noise Ensemble will have to expand its ranks from its core of 16 musicians to a whopping 59 instrumentalists. This is not counting the eight part chorus, two solo singers and two narrators required to perform the work. That’s a total of 71 people! Then there are all of the myriad percussion instruments (among the rare—and expensive—to find items required: car bumpers, boo-bams and about 11 nipple gongs), two synthesizers and—rarity of rarities—a contrabass clarinet. At 100 minutes of music—but only four movements long—the piece is also rather difficult to rehearse, requiring an expanded rehearsal schedule from that which we usually adopt.
All of that is, apparently, child’s play next to actually securing the performance materials.
I first placed an order with Boosey and Hawkes, publishers of Louis Andriessen’s music in the United States, in late May. After answering a slew of questions about the nature of the ensemble, our annual budget, etc., all of which is pretty standard and easy enough to do on their web site, a contract was issued. Just as that contract was on its way to me I received a phone call from Boosey and Hawkes informing me that their initial estimate and quote had been erroneous and that, since the work is technically an opera it requires a grand rights license and an entirely new agreement would have to be issued.
Now, Andriessen himself considers this a concert work. “I believe it is much safer to see it as a very large instrumental, symphonic work,” he writes in his book (co-edited with Mirjam Zegers), The Art of Stealing Time (p.191). “The only thing is, there is a lot of singing in it and that is not so often the case in a symphony. “ The idea of staging it wasn’t even Andriessen’s! It was, rather, the director of the Netherlands Opera who suggested staging the work and hiring Robert Wilson to direct its first performance.
So, because of that, the work is considered an opera and we must first secure a grand rights license to perform it. So I spend the better part of the next week (during which I receive the original license agreement, now moot!) renegotiating the terms with Boosey and Hawkes to be able to secure performance materials in time for the chorus master to hire appropriate singers and for our principal percussionist to figure out where to find all of the necessary players and instruments to be handled and the soloists to receive their scores with plenty of time to learn this often challenging music.
“Those Mahler symphonies in which there is singing,” Andriessen continues in the passage quoted above, “are a rare example. That man should simply have written operas. But, due to a confluence of circumstances, that didn’t work out (he probably didn’t have a good librettist). He also hated the opera ‘business.’”
I can’t imagine why!
(To be fair, Boosey and Hawkes was extremely gracious and helpful throughout the process, which was completed just a few hours before I wrote this on June 7. So, really, while it was somewhat tedious to have to start the process over again, it was nowhere near as complicated or difficult as I thought it would be thanks to Boosey’s courteous and excellent staff. )
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II. Every Journey has a First Step…
The road to October 24 has been a long one. My first proposal to anybody about the project that would become the Great Noise Ensemble performance of De Materie came in late 2006, when I approached the cultural liaison at the Dutch Consulate in New York (at the time a man named Cees de Bever, who has been an extremely supportive advocate for this project, but who has moved on from government work to take on a position in The Netherlands) about organizing a festival of events (I am nothing if not ambitious!) around the commemoration of Louis Andriessen’s 70th birthday in 2009. Obviously, a festival did not materialize (no pun intended—okay, maybe a little) but a seed had been planted. When, in 2008 the Music Center at Strathmore, a major performance venue in the D.C. suburbs announced a call for proposals for its 25th anniversary season, Great Noise Ensemble proposed a performance of De Materie. Unfortunately, because of the economic realities that hit while that contest was taking place, the Strathmore decided to go with a more commercially viable project, but they informed us that they liked our proposal very much and would like to keep it on file for a later season. We then explored the possibility of taking it on in 2010-11, but their projections for ticket sales for such an event were not encouraging and they, unfortunately, had to decline De Materie at this time, booking us instead to do a performance of music by Marc Mellits in their more intimate performance hall in January, 2011.
My dream of performing this piece sometime around Louis Andriessen’s big birthday year seemed to be slipping away from me. Then, I mentioned the project to the head of the Music Department at the National Gallery of Art, who has been a great supporter of Great Noise Ensemble for a number of years now, and who found that he had room in his schedule and his budget, given the pledged support from the Dutch consulate, for this project.
The road I’d embarked upon now had a clear destination.
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In October, 2010 Great Noise Ensemble and I will be presenting the first performance by a professional American Ensemble of Louis Andriessen’s seminal work of music theater, De Materie. In the coming weeks and months until then, I hope to update you on the progress of this complex endeavor in these pages. Today, a bit of an introduction into my obsession with this piece.
I. Confessions of an Obsessive
Louis Andriessen changed my life.
Not him, personally. I’ve had very little personal contact with him, and that mostly at formal talks and the like until very recently. No, it is his work which has had a long and lasting effect on my own work as a composer. I am neither unique nor premature in this.
Still, Louis Andriessen’s music changed my life. Specifically one piece of his changed my musical outlook: De Materie (“Matter,” 1984-88).
De Materie is a two hour long work in four parts structured loosely as a choral symphony but often staged as an opera. It is very tightly constructed, with a number of pre-compositional formal/acoustic decisions informing its organization. These are numerous, and vary between each of its four parts, but there are two, basic organizational principles that bring unity to the whole: tempo is used as a structural procedure (at a ratio of 8:6:5:4) and the so-called “1-2-3-4” chord (F-B flat-C-E), which informs the harmony throughout each of De Materie’s four parts. There’s a lot more to it than that, of course (the elements of popular music included in the third part, “De Stijl,” are a big one with composers of my generation in particular), but these organizational principles showed me a way to organize large scale pieces in a logical way while still utilizing both tonal and post-tonal procedures.
I did not compose the same way after that first encounter as a graduate student. It was, in short, a revelation. I have been obsessed with this piece since then.
Now, I am not only a composer but a conductor, albeit one whose performing activities are often tied to his compositional interests. These activities, coupled with my obsession with De Materie instilled in me the desire to bring about a performance of this piece for some time. Because of its gargantuan size and the enormous forces required to perform it, De Materie is not performed very often in its totality. The first American performance of the piece did not take place until 2004 (almost 20 years after its completion) and that by the same Dutch ensemble, Schoenberg/ASKO, that premiered it in 1988. As soon as I’d started my own ensemble, Great Noise, I had wanted to plan a performance of De Materie and be the part of the first performance by a group of American musicians. I was beaten to this by the ensembles of Williams College, who performed the piece in 2008. In October, however, I will lead the first performance of De Materie by a group of professional American musicians at the National Gallery of Art in Washington, D.C. with Great Noise Ensemble and the Vocal Arts Ensemble of the National Gallery. This is an event that, for me, has been almost four years in the making. In the coming weeks I hope to document as best as I can the preparations towards this momentous occasion.
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Friend of S21 Alexandra Gardner blogs this week on why she composes. Her answers are simple and to the point and pretty much sum it up for me: it’s fun (even when it’s frustrating), I have to (I’m reminded of Olivier Messiaen’s somewhat precious but beautifully apt answer to this question when the author Claude Samuel posed it to him: you may as well ask why an apple tree produces apples! I simply don’t know how to do anything else), and sometimes my music reaches someone, be it a performer or an audience member, in a way that other music reaches me. That is a truly precious and beautiful gift to be able not just to give, but to receive (it is a humbling gift to know if a work of mine has meant something to just one person).
One other reason that I compose (and created and conduct an ensemble) is that I think it is important, culturally, aesthetically and politically. It is said that the health of a nation’s soul is measured in its art. In our nation it is very easy to be discouraged by the lack of importance given to the arts, particularly new art music. In a time when making a living solely as a composer, let alone reaching a wide audience, is a near impossibility for most of us it is a patriotic act to be a composer PRECISELY because we are apparently so unimportant to the culture at large. What we do IS important. What we do has GREAT VALUE. For what we do is make music that ideally goes BEYOND the three minute pop song; music that acknowledges the intelligence of its audience, rather than take it for granted; music that challenges our ever decreasing attention spans and asks its audience to be transported beyond mundane reality to comment upon it or perhaps even at times transcend it.
At least that’s why I do it.
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Pardon the pasting of a call for scores directly, but I thought some of you fellow composers out there might be interested in the following:
The Catholic University of America’s student chapter of the Society of Composers, Inc. and Great Noise Ensemble present:
New Voices @ CUA: Festival of New Vocal Music
Sept. 10–11, 2010
Call for Scores
DEADLINE FOR SUBMISSION: JUNE 20, 2010
Please direct all submissions and questions to: CUANewVoices@gmail.com
Submission Forms and further information available at https://cua-sci.campusgroups.com
The SCI Chapter of the composition division of the Benjamin T. Rome School of Music at The Catholic University of America, in partnership with ensemble-in-residence Great Noise Ensemble, will host a two-day festival of new vocal music from September 10 to 11, 2010, in Washington, D.C. The festival will include four concerts performed over the two days and will feature performances in the campus chapel, the Benjamin T. Rome School of Music’s Ward Recital Hall, and a nontraditional venue in the Washington, D.C., area. Friday evening’s concert will feature works by students at CUA and performances by Great Noise Ensemble. The works of selected composers will be performed at one of three concerts on Saturday, again featuring performers from Great Noise Ensemble and the Benjamin T. Rome School of Music.
About Great Noise Ensemble
With 19 world premieres and counting, Great Noise Ensemble is a working embodiment of its mission to fight for the performance of new works and to promote emerging talent in contemporary music. Conductor and composer Armando Bayolo founded the group in 2005, and the ensemble is an integral part of the new music culture in Washington, D.C. Please see www.greatnoiseensemble.com for more information on the group.
Composers are encouraged to submit works appropriate for programming in the following broad categories: sacred music, concert music, and cabaret/musical theatre songs. Composers may submit up to five works; the first submission is free, and each subsequent submission (up to 5 total) is $5 per piece. Multi-movement works such as song cycles, etc., qualify as a single work. Music should be for solo voices (no choral works); duets, etc., are acceptable, but no more than one on a part, and may include up to six other instruments or 2.0 channel electronics. While composers are welcome to provide their own vocalists, the instrumentalists for festival performances will be drawn from Great Noise Ensemble. Great Noise Ensemble’s core instrumentation is as follows: 1 flute, 1 oboe, 1 clarinet/saxophone, 1 horn, 1 trumpet, 1 tuba, 1 percussion, 2 violins, 1 viola, 1 cello, 1 double bass, 1 piano, and 1 guitar/banjo/mandolin, though other instruments may be available as well. Submissions of sacred music intended for performance on the Saturday morning chapel concert may also include pipe organ. Composers whose works are selected are required to attend. A $15 registration fee, payable upon arrival at the festival, is applied to printing/promotion costs associated with the festival.
Please submit items as attachments to an e-mail.
1. Score(s) in .pdf format
2. Submission Form
3. Recording in .mp3 format
Entry Fee: First work free; each work thereafter (up to 5 works total) is $5 per work payable via
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