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Found 36 results

  1. Would you like to participate in a piano composition competition on line from your house?Only audio requiredNo matter how far you are. This is via the Internet. It's very simple Record your own piano composition (1 to 4 minutes), and send the audio file or files to: concursofidelio@gmail.com Only audio required. Submission: 10 euros or equivalent in dollars per composition sent. Maximum number of compositions allowed: four.First Prize: 500 euros, certificate, cd's and sheet music Second Prize: 200 euros, certificate, cd's and sheet music Third Prize: 150 euros, certificate, cd's and sheet music You and the other participants choose the winners by voting for the competing works. Only contestants can vote. Send your audio, participate with pianist from more than 20 countries and vote for the winner!! Deadline for submissions: JANUARY 12th, 2018Contestants also receive comments on the works submitted (Not compulsory) and we send you the comments you receive after voting rounds. Guidelines here: http://concursodecomposicionparapianofidelio.com/bases-del-concurso/
  2. Hi Young Composers, In my latest article, I discussed about why most modern game soundtracks are boring and lifeless and how to remedy it. And this has actually very little to do with composer's technical skill as most would think. Take a read and see if it make sense, or if you have encountered circumstances as discussed in the article. Also, it'll be helpful if composers(you guys!) in this forum can have a discussion if you agree with me or not. :) https://www.linkedin.com/pulse/why-most-modern-game-soundtracks-lifeless-marvel-symphonic-yoa/ Being an experienced composer/audio specialist for visual media with over 10+ years of experience and have worked on projects with over $85 million in the box office and multiple other award winning projects. I've worked with all kinds of people - both high and low, nice people and assholes. Through my personal experience, I know what's truly plaguing the industry and am offering my insights of how to improve it for the benefit of the community. Thanks and if you find this article helpful, do give it a like and share it to others :) -Kian Music Composer | Visual Media Audio Specialist www.kianhow.com
  3. My first attempt at a symphonic styled composition. I am 16 in yr 11 in Australia. Please give me feedback on what I need to improve on and tips on what Symphony No.1 in D major - I. Doloroso e lento.pdfI should build to next Also cause I went from Sibelius 7.5 to Garageband there is no Timpani, so it's a Vibraphone
  4. Dear friends, Would you like to participate in a piano composition competition without leaving home? The Eight Piano Composition Competition Fidelio via The Internet is open for registration. In case you want to participate you are very welcome. As usual, It is very simple, you only need to play your own piano composition (1 to 4 minutes), and send the audio file, that’s all. Inscription: 10 euros or equivalent in dollars In this competition you choose the winners of the cash prizes through a voting system published in the web. When you enter the voting rounds you only vote for the music you listen without knowing the author's name or pseudonym. It's only known when the final results are given. Deadline to submit your audio file: November the 30th. 2017 Many countries involved. The style of the music is free. Enter here to read complete guidelines, know prizes and listen to past winner's piano compositions: http://concursodecomposicionparapianofidelio.com/ With best wishes Antonio Ruiz Asumendi (Director)
  5. The Third Guitar Composition Competition Fidelio via The Internet is open for registration. In case you want to participate you are very welcome. This is a competition to participate from your house. No matter the distance As usual, It is very simple, you only need to play your own guitar composition (1 to 4 minutes), and send the audio file, that’s all. Inscription: 10 euros or equivalent in dollars In this competition you choose the winner of the cash prize through a voting system published in the web. When you enter the voting rounds you only vote for the music you listen without knowing the author's name or pseudonym. It's only known when the final results are given. Deadline to submit your audio file: November the 12th. Voting rounds will start on November the 15th. Many countries involved. The style of the music is free as long as it is played with classical or Spanish guitar. Acoustic or electric guitar is not allowed. Enter here to read complete guidelines and see the prizes as well as listening to the works of past winners. http://concursodecomposicionparaguitarrafidelio.com/ With best wishes
  6. New to this forum!!

    Hi everyone, i´m Fernando Ocegueda, i´m 17 years old, i´ve been composing for a year now, so i´m pretty much new to this whole composers world, but since i started i´ve been making songs like crazy and i find it very relaxing, it helps me relieve stress like in a therapeutical way. And since i´m starting to get serious about it i´d like to receive some opinions about what i´m doing. I´m new to this forum and i´m really glad i have found this site because i think it´s a great idea that many composers can help each other out, and, if you let me, i would really like to give people some feedback about their compositions, and help them in any way i can with my opinion, as well as they can help me. I don´t know much about musical theory, so my contribution with this forum could be telling you what someone who doesn't know al lot of theory thinks about your composition in a non very technical way. As i mentioned i´m not very good with theory, but i´m taking lessons and as i get better at it of course i´ll try to help some way. Well, to start, i´d like to know what you think about a composition i made about a month ago, it´s called "Esperando una señal" or "Waiting for a signal" in english, i´m mexican so this song is in spanish (i´m also trying to compose in english) so i don´t care that much about the lyrics (if someone speaks spanish i would really aprecciate some help though), it´s music, the melody what i really care about. It feels a little bit raw since it´s not very good quality because i only have a guitar, a mic, and a keyboard, also my room receives a lot of noise from other parts of the house, but i tried to make it sound as best as i could, i´m going to re-make it so it sounds better, but before i do, i´d like to know what you think about it. Thank you everyone for reading. Hope i´ll be here for a long time. Sorry for my english.
  7. Hi fellow composers! My name is Kian, a Shanghai, China based composer and visual media audio specialist. I'm a graduate of the world prestigious Berklee College of Music and have had more than 10 years of industry experience working on a range of projects including AAA+ games such as Eve Online, Dishonored, Spec Ops: The Line, Dust 514 and block buster Chinese films notably Wolf Warrior. You may find more information about me and my works through my website: www.kianhow.com After more than 10 years of being in the industry and having spent considerable time working in the East and West, I have accumulated much highly valuable experience which I believe will help composers navigate through their careers with much ease. And considering the rise of the economic powers of Asian countries in recent years, there will be more opportunities for composers to explore in this region and I will have highly valuable information that can help aspiring composers intending to exploit the growing markets of the east. I have written a series of articles with the specific purpose of assisting composers achieving their goals. If you find my articles to have provided any value to you, do share it to others as sharing is caring and if there's any questions or topics you'd like me to write about, do get in touch with me :) https://www.kianhow.com/single-post/2017/08/08/Truths-About-Being-a-ComposerThat-You-Should-Know-1-Understanding-the-realities-of-being-a-composer https://www.kianhow.com/single-post/2017/08/08/Truths-About-Being-a-ComposerThat-You-Should-Know-2-Understanding-the-function-of-a-“work-for-hire”-composer Thanks and I wish all of you the best of luck with your careers! -Kian Music Composer | Visual Media Audio Specialist www.kianhow.com
  8. Suggestions and Advice

    I've been working on music for a few years now and now I have become a bit more serious about it. I would like to know what I could do to improve my quality and Style. Thank you :) One of my recent songs as a reference: https://m.youtube.com/watch?v=Z3wob4DKsug
  9. Dear friends, Would you like to participate in the Seventh Piano Composition Competition Fidelio at home via internet? No matter how far you are. You compete at home Inscription 10 euros or equivalent in dollars. 3 cash prizes and more... In this competition the winners are chosen by the entrants through a voting system published in the web, it means that you and the other participants will have to vote for the works via email. It's very simple, you just have to inscribe and send your audio file. You don't need to send the sheet music, just the audio file. Joining the voting rounds is quite exciting! You can participate with name or nickname. Deadline to submit your piano composition 20th May 2017. There is something new compared to last competition: 1) audio files can last up to 4 minutes. 2) People will be encouraged to leave comments on the works when voting, this comments will be sent privately to each one of the participants along with the results. Many countries involved. Enter here to read complete guidelines: http://concursodecomposicionparapianofidelio.com/bases-del-concurso/
  10. Tune Bud gives you the tools to start your own music library and license your music direct to clients worldwide. And what's more, you keep 100% of the revenue! Create your own bespoke, branded e-commerce website complete with full search functionality, integrated payment gateway and content management system. Tune Bud provides a perfect addition to the way you currently monetize your music. If you already write for production music libraries, or mainly work on originally commissions music, Tune Bud can open up a new and complimentary revenue stream for you in a really simple and cost effective way. Get set up completely free today and upload up to 100 tracks without paying a single penny. Visit the website at http://tunebud.com/ to see music library example, a full list of features and to get started in an instant! http://tunebud.com/
  11. Hello everyone! I have started up a new youtube channel with advice for music composition! There is an introduction series up now on choosing the right software and basic song writing, with more to come! Come Check it Out: Thanks everyone, good luck with your songs!
  12. Dear friends, Would you like to participate in the Sixth Piano Composition Competition Fidelio at home via internet? http://concursodecomposicionparapianofidelio.com/bases-del-concurso/ Inscription 9 euros or equivalent in dollars. 5 prizes, three in cash. In this competition the winners are chosen by the entrants through a voting system published in the web, it means that you and the other participants will have to vote for the works via email. It's very simple, you just have to inscribe and send your audio file. Joining the voting rounds is quite exciting! You can participate with name or nickname. Deadline to submit your piano composition October the 30th. There is something new compared to last competition: 1) audio files can last up to 4 minutes. 2) People will be encouraged to leave comments on the works when voting, this comments will be sent privately to each one of the participants along with the results. All the best. Antonio Ruiz
  13. It's a simple question, yet it could be a nice debate topic: In your opinion, who are the 5 most underrated and the 5 most overrated composers? You may answer through a plain old list, but this can work better if you'd want to explain why do you consider this or that particular composer as underrated / overrated. Of course this will be controversial - that's exactly the very point of it. For instance, this would be my (short) answer. Top 5 underrated composers: 1) Tchaikovsky: come on, everyone knows at least one tune by him, yet he's not as much of a household name as, for example, Bach. Also, I've read a lot of critics attempting to explain away his popularity as some sort of a fluke, rather than sheer talent and craftmanship. Never mind the Nutcracker or 1812 - he wrote superb operas (The Maid of Orleans) and orchestral works such as the Danish Anthem Overture Op. 15, or the Elegy for Strings. 2) Haydn: he created the sonata form almost from scratch, wrote more symphonies than Mozart, Beethoven, Brahms, Mahler, Bruckner, Tchaikovsky and Shostakovich combined, and yet he's always confused with / overshadowed by Mozart. 3) Frederick Delius: listen to something by him and you'll know why I'm listing him. 4) Mendelssohn: he'd be regarded as a clean-cut top tier composer if not for Wagner using racial bias to berate him. Also, he has a Mozart-like biography but no Oscar-winning biopic. 5) John Williams: everyone is quick to accuse him of ripping off Wagner, Holst or Tchaikovsky - but hey, try to imagine Star Wars, Jaws or Indiana Jones with another music. Also, he has many other worthy pieces. Honorable mentions: Shostakovich, Mahler, Kalinnikov, Berlioz, Sibelius, Rachmaninov, Elgar, Holst, Alban Berg, Karl Orff, Camille Saint-Saëns. Top 5 overrated composers: 1) Richard Strauss: in my view, little more than a Wagner clone writing tone poems rather than operas. And the oh-so-overplayed fanfare from Also Sprach Zarathustra... 2) Anton Bruckner: almost always placed side-by-side with Mahler with no apparent reason other than writing 9 (or 11?) large symphonies. Personally, though, I find most of Bruckner's to be long, stately borefests. 3) Hans Zimmer: Mr. D-minor Rhythmic Pattern. And that's it. 4) Mozart: yes, he's actually regarded as the Chosen One. And yes, I love a lot of his works. Yet I find this assessment to be somewhat exaggerated - Haydn could match him rather easily, not to mention Beethoven. 5) Wagner: granted, his influence is almost unescapable - but I can't recall any other composer actively campaigning to be influential and berating his competitors, except maybe Boulez. No one else can claim to have overrated himself so much. Dishonorable mentions: John Cage (seriously, silence?), Bartok (no match for Stravinsky, despite how hard he tried), Boulez (as stated above, although I do respect him as a conductor), Vivaldi (he wrote the Four Seasons, then rewrote them about 600 more times), most of the 20th century bunch. Done. Let the piefest begin...
  14. Hello all, I am currently in my final year of studying for my degree in Music Composition for Film and Media and I was hoping to get some advice on finding work as a composer. I am happy to work with any type of media but I find it difficult to believe that most composers just sit around and wait for directors to approach them with pieces of film requiring music. Are there any good websites to use where a composer can go and find work for himself? Should I be offering my services for free? Also are there any particularly effective ways of advertising oneself? Any advice on this matter would be greatly appreciated. Thanks for your time! Andrew
  15. Questionnaire For Composers

    Hi all, I am currently studying a music degree and i need to get different composers views on how they compose. My research project is about the compositional devices and techniques that different composers use in order to convey specific emotions and metaphors to the audience, all music should evoke some sort of emotion within the listener and my research project is dedicated to finding out how composers manage to do this. There are 4 questions to this questionnaire and if you could spare some time to share some of your knowledge I would greatly appreciate it and it would help my project immensely! These are the 4 questions: 1.Which elements of composition do you find are the most effective with regards to conveying emotion and feeling through your music? Instrumentation, tempo, key/mode, time signatures/time change, arrangement etc.? Please explain why you find these effective. 2.Do you find any of the above elements particularly effective when trying to convey a specific emotion such as anger, Love or sadness etc.? Why do you find these so effective? 3.How much interaction is there between yourself and the director of the film which you are composing for? Does the director offer much input regarding the music and why do you feel the director offers this input (if any)? 4.What compositional advice would you give anyone who was faced with the challenge of conveying thoughts and emotions through their music? If you can manage the time to help me out with my project by answering these questions you would be helping me out a great deal! Thanks for your time
  16. Hey guys, Anyone would like to organize an online music competition and invite musicians to perform your music piece? Please have a look at the introduction video here to see how it works. Main features: 1. You decide how much to award the prize winner and you will be the judge for the competition as you know who perform your song the best. 2. You can get hundreds of people performing your music piece and sharing the music performance for you (thru social sharing). I got this idea from online design competition platform. 3. You can ask your friends to support you by donating a few dollars to your competition in our platform (So this competition is their birthday gift for you this year) 4. Different from traditional competition, competitors can submit their performance on the site early and composers can give feedback to them and the competitors can improve their performance and resubmit many times before the deadline so that their performance will match the composers' taste the best. 5. Apart from the champion, you can give out 'Honorable Mention' award to those who perform well as well. 6. After the competition and the prize money is awarded to the winner, you have the right to use their winning competition performance for your own promotional purpose. We will be sponsoring a few competitions when we are launching our site some time in April. If you would like your song to be considered, please fill in the form here. If you have more ideas and suggestions about the competition, please feel free to discuss here. If you are interested in launching a competition, please also reply to this post as well so I can see how many of you are interested in it. Thanks. If you are interested in becoming part of our team, please feel free to send me a message as well. Best, Patrick Chu Founder of 99Composers
  17. Are you a composer or arranger and would you like to publish and sell your music online? Do you want to keep the rights for your works? BAPLO Music Publishing and Digital Sheet Music Publications is an initiative of a young Dutch musician and entrepeneur. With this new publishing platform we'll give new composers and arrangers a place to sell their works online, all over the world! We are pursuing to be a platform with original works and arrangements of classical pieces. Published music will be available as .PDF format. For more information: http://www.baplomusic.com
  18. Hello everyone, This is the 2nd challenge in this series. The first was on the theme of my Soliloquy for Clarinet No. 5. You can still participate in it here: http://www.youngcomposers.com/forum/t33378/composing-short-pieces-using-a-theme-by-luderart/ The chosen theme this time is from the 5th piano miniature by DanJTitchener: http://www.youngcomposers.com/music/listen/4849/ You might take the first 4 or 8 bars. I hope everyone can make good use of this theme and both the author of the theme and the participants can benefit from the challenge.
  19. Call for Latin American Music: 60x60 Latin Music Mix (SPANISH/PORTUGUESE TRANSLATIONS BELOW) 60x60 Latin Mix (No entry fee) (SUBMIT http://www.musicavatar.org/)PLEASE FEEL FREE TO SHARE CALL WITH COLLEAGUES, STUDENTS, SOCIAL MEDIA Opportunity Type: 60x60 Entry Fee: NoneOpen To: All Composers living in Latin America, Composers of Latin American heritage, and/or works that are clearly inspired by Latin American culture/music.Deadline: Nov 1, 2014 Receipt Type: Digital Submission: Must be completed online by deadline 60x60 Latin MixOpportunity Type: 60x60 Entry Fee: 0.00 Open To: The call is open to all Composers living in Latin America, Composers of Latin American heritage, and/or works that are clearly inspired by Latin American culture/music. Deadline: 11-01-14 Receipt Type: Digital Submission: Must be completed online by deadline Vox Novus's 60x60 is calling for one-minute recorded works with durations of 60 seconds or less. Curator/Macrocomposer Sabrina Pena Young will select and organize 60 compositions to be played continuously in a one-hour live concert. About the 60x60 Latin Mix: The 60x60 Latin mix will show recent works of Composers living in Latin America, Composers of Latin American heritage, and/or works that are clearly inspired by Latin American culture/music. 60x60 is a project of "signature works" and short works created specifically for the 60x60 project. Excerpts of larger works are strongly discouraged. Works generated from procedures (i.e. mathematical matrices, organizational systems, or computer programs) remixed works, or themes and motives recomposed from other of the composer's own work are acceptable. In addition to the 60x60 Latin Mix, Vox Novus is calling for submissions for several other themed mixes including: the International mix, the Wave Farm mix, Death Mix and others. Details for other mix submissions can be found at: http://www.60x60.com/submission The call is open to all Composers living in Latin America, Composers of Latin American heritage, and/or works that are clearly inspired by Latin American culture/music. There is no admission fee. Submission deadline for all 60x60 opportunities is 11-01-14. All submissions must be uploaded online at: http://www.60x60.com/submission Audio submissions must be in either AIFF or WAV file format. Special conditions for the 60x60 Latin Mix All works submitted to 60x60 mixes will be considered for this year's 60x60 International Mix. The composer needs to write a brief sentence about why the piece should be a part of the Latin mix. Questions about 60x60 can be sent to support@voxnovus.com Works selected for the 2014 60x60 project will be announced on the Vox Novus newsletter NM421: www.NM421.com in January 2015 60x60 is a one-hour-long show made by sequencing 60 pre-recorded pieces by 60 different artists, each piece a minute in length or shorter. 60x60 has been presented in many performance formats including TV shows, radio shows, multimedia and multidisciplinary events, as well as published several albums of works. Since 2003, 60x60 has received thousands of submissions from over 30 countries. Highlighting the work of a great many artists and composers, 60x60 testifies to the vibrancy of contemporary composition by presenting a diverse array of styles, aesthetics, and techniques being used today http://www.60x60.com. -------- PORTUGUESE TRANSLATION 60x60 Latin Mix Oportunidade 60X60 Preço de inscrição: 0.00 Para quem: a convocatória esta oberta a todos os compositores que vivem na América Latina, possuem origem latino-americana, ou que sejam inspirados pela cultura e música latino-americana. Envio: envio digital pela Internet (online). Vox Novus's 60x60 consiste em obras até um minuto de duração. A Curadora (diretora, organizadora)/compositora Sabrina Pena Young fará uma seleção de 60 obras a serem tocadas de forma contínua num concerto ao vivo com a duração de uma hora. Sobre o 60x60 Latin Mix: A 60x60 Latin mix mostrará novas obras de compositores que vivem na America latina, ou que possuem origem latino-americana, e também obras da cultura/musica de inspiração latino-americana. 60x60 é um projeto de "signature works" (projetos personalizados), obras curtas, criadas especificamente para o projeto 60X60. Nao é recomendável extrair fragmentos de obras longas realizadas previamente. Obras de longa duração não serão admitidas. São permitidos trabalhos criados a partir de processos generativos (ex. Matrizes matemáticas, sistemas ou programas de computação), remixes, e temas inspirados por outros compositores. O 60x60 Latin Mix, Vox Novus oferece ainda a oportunidade de inscrição em outras temáticas (themed mixes) que incluem: the International mix, the Wave Farm mix, Death Mix e outros. Detalhes se podem encontrar na: http://www.60x60.com/submission A data limite e: nov-01-2014 Todos os projetos têm que fazer o upload online na: http://www.60x60.com/submission A submissão Audio tem que ser no formato .AIFF ou .WAV Condições especiais do 60x60 Latin Mix: - As obras enviadas ao 60x60 serão consideradas no 60x60 International Mix deste ano. O compositor tem que descrever com uma pequena frase a razão para a sua peça ser incluída na Latin mix. Perguntas acerca do 60x60 podem ser enviadas para: support@voxnovus.com As obras seleccionadas paro o projeto 60x60 2014 serão publicadas na Vox Novus newsletter NM421: www.NM421.com em Janeiro 2015. 60x60 é um concerto de uma hora de duraçâo com 60 peças de artistas diferentes, pre-gravadas e tocadas sequencialmente. 60X60 tem sido apresentado em formatos diferentes de performance: em TV shows, na radio, eventos multimedia e multidisciplinares. Também ainda realizado publicações das obras em albums. Desde 2003, 60X60 tem recebido milhares de inscrições vindas de 30 países. 60X60 é uma referência na vitalidade da composição contemporânea apresentado uma diversidade de estilos, estéticas e técnicas utilizadas por muitos artistas e compositores actuais. http://www.60x60.com ---------- SPANISH TRANSLATION 60x60 Mezcla latina Tipo de oportunidad: 60x60 Cuota de admisión: 0.00 Abierto a: El llamado está abierto a compositores que vivan en América latina, compositores de ascendencia latina y/o trabajos inspirados en la cultura/música latina. Plazo de entrega: nov-01-2014 Tipo de recibo: Presentación digital: Debe ser completada en línea. Vox Novus 60x60 está pididendo obras grabadas de un minuto o menos de duración. La curadora/macro-compositora Sabrina Pena Young seleccionará y organizará 60 composiciones que serán ejecutadas continuamente en un concierto de una hora de duración. Sobre la Mezcla Latina 60x60: La Mezcla Latina 60x60 mostrará trabajos recientes de compositores que vivan en América latina, compositores de ascendencia latina y/o trabajos inspirados en la cultura/música latina. 60x60 es un proyecto de "obras de autor" y obras cortas creadas específicamente para el proyecto 60x60. No se recomienda extraer fragmentos de obras largas realizadas previamente. Son aceptables obras generadas a partir de procedimientos (matrices matemáticas, sistemas organizacionales o programas informáticos), las obras remezcladas, o los temas y motivos recompuestos a partir de otros trabajos propios del compositor. Además de la Mezcla Latina 60x60, Vox Novus está convocando para varias otras mezclas temáticas: la Mezcla Internacional, la Mezcla Wave farm, La Mezcla Muerte y otras. Los detalles para otras convocatorias puede ser encontrados en: http://www.60x60.com/submission La convocatoria está abierta a compositores que vivan en América latina, compositores de ascendencia latina y/o trabajos inspirados en la cultura/música latina, de cualquier edad o etapa de su carrera. El plazo para presentar obras de 60 segundos (o menos) de duración es nov-01-2014. No hay cuota de admisión. Todas las obras deben ser cargadas en línea en: http://www.voxnovus.com/60x60/submission (el proceso de registro está en inglés) Las obras deben estar en formato AIFF o WAV. Condiciones especiales para la Mezcla Latina 60x60 Todos los trabajos enviados a las Mezclas 60x60 serán consideradas para la Mezcla Internacional 60x60. Los compositores deben escribi una breve nota que explique porque su obra debería estar en la Mezcla Latina. Preguntas sobre 60x60 pueden ser enviadas a jackysch@gmail.com Los trabajos seleccionados serán anunciados en la hoja informativa de Vox Novus NM421: www.NM421.com en Enero 2015. 60x60 es un concierto de una hora de duración conformado por la secuencia de 60 piezas grabadas por 60 compositores diferentes, cada obra de una duración máxima de 60 segundos o menos. 60x60 ha sido presentado en muchos formatos incluyendoTV, radio y eventos multimedia y multidisciplinarios, también ha publicado CD's con las obras seleccionadas. Desde 2003, 60x60 ha recibido miles de obras de mas de 30 paises. Destacando el trabajo de un gran número de artistas y compositores, 60x60 da testimonio de la vitalidad de la composición contemporánea, presentando una gran variedad de estilos, estéticas y técnicas que se utilizan actualmente. http://www.60x60.com.
  20. For many living composers, the response to this question might be something like: "Short answer, 'no' with an 'if,' long answer, 'yes' with a 'but.'" But before we start assigning labels, let's discuss what terms like "tonal" and "atonal" really mean. "Atonal music" in its narrowest usage refers to those works of composers Arnold Schoenberg (1874-1951), Anton Webern (1883-1945), and Alban Berg (1885-1935), composed in or after the second decade of the Twentieth Century, and pre-dating all three composers' adoption of the twelve-tone technique. Berg once attributed the coinage of the term "atonal" to the words of a newspaper critique, and the term itself has long since carried certain pejorative connotations. Another, somewhat broader definition, includes both these works and works of music composed using the twelve-tone technique. This technique was pioneered by Schoenberg and others in the 1920's, and was soon adopted by Webern, Berg, and later numerous composers of serious music in Europe and throughout the world of Western music composition. A third, broader still definition, includes all music in which tonal centers are sufficiently ambiguous. Under this definition, many works by Debussy, Ravel, Stravinsky, Copland, Bartók, Shostakovich, and others are sometimes described as "atonal." This third definition is perhaps the most widely used, but also the most problematic. The term is not commonly applied, for example to noise music; nor music for unpitched percussion instruments; music composed using elements of chance and aleatory techniques; experimental music; microtonal music; or other forms of musical expression falling outside the dominion of Western art music of the Twentieth and Twenty-First Centuries. Its usefulness as an aesthetic term must therefore be seriously called into question. What is "tonal music"? The term as used today broadly refers to music composed with tonal centers, or one or more focal pitches considered "stable" with regard to the others. Often this also means the use of familiar harmonic patterns, or "harmonic progressions," typical of the music of the Eighteenth and Nineteenth Centuries. The term as used today, though, perhaps only exists usefully as an antithesis to "atonal music"; as conventionally defined it does not include non-Western musics, nor Western music composed before the Mature Baroque, and its application in folk music traditions or popular styles is highly suspect. The one thing that all of these various definitions have in common is their emphasis on composer intent. "Atonal" and "tonal" do not necessarily represent meaningful expressions of listener experience, in my opinion, which I believe should be a part of any meaningful discourse about music. Instead, I advocate the adjudication of any musical expression on its own terms, in its own proper context, and with the use of descriptive terms such as "plaintive," "haunting," "lyrical," "energetic," etc. Needless to say, any discussion of music on these terms will be subjective to a greater or lesser extent; but the search for absolute, objective truths in a pursuit as rich as music will always lead to a dead end. A quote from the author George Orwell, originally written with regard to various conflicting philosophies of government in the Twentieth Century, seems uncannily appropriate if the words "tonal" and "atonal" are substituted for the terms "democracy" and "fascism": Leave a comment below and click here to continue the discussion!
  21. Hi, I'm Cyrup! Without beating around the.... excuse horrible pun - pixelated bush; I'm the director of a new Machinima series in development, called Legend of the Obsidian Keys (LOK). My crew of 7 and I have basically completely finished filming and creating the first episode... everything except the music/scoring. Unfortunately, we don't have (and can't find) anyone to actually SCORE and create music for the first episode. Bespoke music is the driving force for this creation, as without it the episode would be below average. We need an original soundtrack that will help bring this project to a higher standard, and really push the limits of a successful Machinima. If you're interested in helping out, we need a composer! It should be noted that we can't really offer any payment. The best we can offer is a large percentage in whatever the series earns, and if anything, a small 'token' cost... as well as the credit accompanying the involvement. I've created a video that has more information on this which you can watch here: We also have an incredibly outdated trailer for the series, which you can viewhere. There's also a forum thread (also outdated) that was created for the project, which you can read here. LOK is a Minecraft based Machinima, revolving around the events that surround two protagonists after they discover an active portal leading to another dimension. The series also features an (animation) cross over from the Sandbox game Garry's Mod, which is the basis for the 'real word' or current world the protagonists come from. If you can help, please post below or message me however possible. Thanks!
  22. Theme and Variations Piano Composition Contest Due Date: Nov. 15th, 2013 Winner will have their work recorded by me (I have a Steinway Grand at my disposal :thumbsup:). I'm might have a chance to premier it as well next summer, but I'll need to confirm this at a later date. Guidelines: 1. The piece needs to be in theme and variations form. 2. The theme is yours to choose but it must have NO repeated sections (Beethoven's c minor variations WoO 80 is a good example of what I'm looking for). I'd prefer a theme that is short and sweet (under 24 bars). It could be an original theme or a theme by another composer (as long as there is no copyright infringement of course). 3. The piece should be under 15 minutes. 4. The hardest pieces I've performed include Chopin's 4th Ballade and the Heroic Polonaise op 53, Scriabin's Etude op 8 #12, Beethoven Sonatas and Bach preludes and fugues. If you could keep the difficulty level at or under those pieces that would be appreciated ;) Other things to keep in mind : 5. I would prefer if the piece showcases a variety of styles. Breaks between variations are expected but I encourage you to try and bridge a few together (it's not mandatory). 6. You are welcome to compose in any style(s) you choose (Baroque, Romantic, Impressionist, the modes of limited transposition, 12 tone, ect...), it's up to you. 7. Submit the piece at any time before the due date and I'd be happy to give some advice on the piano writing. 8. And most importantly, Have Fun! I really hope this catches people's interest, I look forward to your submissions. Good Luck! :cool:
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