Call for Scores with Composer-Provided Performers

Submission Deadline: 12 Noon Mountain Time on Tuesday, November 30, 2021

The College Music Society (CMS) is pleased to announce its 65th National Conference in Long Beach, California, September 22–24, 2022, in conjunction with the 2022 National Conferences of the Association for Technology in Music Instruction (ATMI), the National Association of College Wind and Percussion Instructors (NACWPI), and Pi Kappa Lambda (PKL).

The Society’s common topic this year is “Leading Change,” and our conference will endeavor to be a model for how music in higher education can treat popular, traditional, classical, and experimental musical practices in an equitable way. It will also explore actions that can help our profession navigate the necessary “epistemic shift in the ways in which we prepare musicians for the challenges and opportunities of living, learning, and teaching” in our hybrid world.

The Program Committee welcomes submissions of original works to be performed during one or more special concerts during the conference. Composers must either perform their own works or provide their own performer(s). Works for solo instruments, one piano (two or more hands), small ensembles, voice, and 2-channel electronic and electro-acoustic works will be considered. Presentations requiring two pianos will not be considered; however, single piano works for 4-hands are welcome. The Committee solicits the broadest representation of our profession and its interests and welcomes submissions from all including those (a) in academia (full-time and adjunct faculty, community college faculty, students, and retired faculty), (b) in the music industry, and (c) active as independent musicians and scholars.

CMS welcomes proposals that:

  1. Recognize music’s pivotal role in the intersections among higher education, music, and social justice movements; feature music that celebrates diverse ethnic, cultural, and gender identities; deconstruct racist hierarchies and Eurocentric culture in music making, pedagogies, and the academy; emphasizes the compositional approaches and performance practices associated with jazz, popular, and traditional musics.
  2. Address cultural and musical heritages relevant to the city of Long Beach and the surrounding Los Angeles metropolitan area, including the scholarship, musics, and musicians of indigenous communities in addition to all themes relevant to the Long Beach cultural experience.
  3. Relate to the Society’s emphasis on leading change in turbulent times; envision the boundless opportunities of living, learning, and teaching in a hybrid-world; design musical performances despite social distance restrictions; and reposition creativity (composition, improvisation, entrepreneurial thinking and action) at the heart of what we do.
  4. Are representative of the concept of “crossing borders” in its formation and sensibility, or compositions that bring together a multiplicity of influences that may even reside outside of the realm of music and are found in other areas of art making (e.g., visual art, spoken work, poetry, movement, film, etc.).
  5. Are created or documented in ways that the Western system of music notation does not accommodate.

The Committee solicits the broadest representation of our profession and its interests and welcomes submissions from all including those (a) in academia (full-time and adjunct faculty, community college faculty, students, and retired faculty), (b) in the music industry, and (c) active as independent musicians and scholars.

Proposed works must be 10 minutes or less in duration.

Compositions performed at previous CMS National Conferences are not eligible for consideration.

Alternative compositional/performance techniques such as solo and/or group improvisation and open musical forms are welcome.

Compositions utilizing electronic media will be considered contingent upon availability of technical resources on site. Presenters must provide their own computer or tablet and interface for any needed audio or video playback.

Prior to submission, composers must communicate with their performers regarding their interest and availability. Proposals which do not list all performers will be deemed incomplete and will not be considered. Composers may wish to refer to the online CMS Player’s Roster to locate performers who have volunteered their services for this conference.

The program committee will form a “Meet the Compositions” Panel with composers who are accepted for the concerts. The panel will provide an opportunity to examine a variety of topics related to the process of compositional music making as discussed by composers whose artistic creations are representative of the diversity of music that exists in our world and that promote the concepts and sounds associated with “other ways of knowing.” If you are interested in participating on this panel, please tick the “Meet the Compositions” checkbox in the proposal form. The Composition Subcommittee will select panelists from those who ticked the checkbox with the goal of representing diverse approaches and compositional styles.

 

PREPARATION OF MATERIALS

Electronic submissions are required. Proposals sent by mail will not be considered.

The name(s) or affiliation(s) of anyone involved in the presentation should not appear on the score or parts, including the ensemble, performers, dedications or commissioners (if applicable), in program notes, or in the file names of submitted audio samples, as submissions are evaluated anonymously. Proposals identifying the composer or collaborators will be disqualified. Names and affiliations may appear in submitted biographies and in the “Performers” section of the proposal, however, as the review committee will not have access to this part of the application.

The College Music Society’s conference submission process is powered by Submittable. To submit a proposal, please (1) log in to the CMS members-only website using your username and password and then (2) click the ‘Submit’ button at the bottom of this call. You will be directed to Submittable to complete your proposal. If you don’t already have a Submittable account, you will be prompted to establish one. (Click here for help using Submittable and to view a list of Frequently Asked Questions.)

A complete proposal includes:

  1. The composition’s title, instrumentation, and duration, rounding up to the nearest half minute.
  2. A representation of the composition in one of the following formats:
    1. A PDF copy of the full score and individual parts (anonymous; dedications and/or commissions should be redacted on the score for anonymous peer review). Multi-movement scores should be merged into a single PDF file, as should all parts.
    2. For those works that are not represented in the score format as noted above, please provide a description of the conceptual framework used in the realization of the composition.
  1. An anonymous digital recording of the work (please erase the metadata that is automatically saved with the file). MIDI file/software-synthesis realizations are acceptable. Most audio file formats are supported within Submittable.
  2. Program notes (not to exceed 250 words).
  3. A list of required equipment (Internet connections are not guaranteed).
  4. A brief biography of the composer (not to exceed 250 words).
  5. Name of the performing ensemble, if applicable.
  6. Performer biographies:
    1. If the work will be presented by a named ensemble, a biography of ensemble must be included (not to exceed 250 words). Ensemble biographies may briefly address the achievements of each ensemble member; however, separate biographies of each individual performer are not requested in this case.
    2. If the work will not be presented by a named ensemble, biographies of individual performers should be included (not to exceed 250 words per person).
  1. Contact details for all performers, including an email address, mailing address, and phone number for each person, as well as an institutional affiliation, if applicable

Submissions that do not conform to the above guidelines will not be considered.

TIMELINE

Proposals must be submitted by 12 noon Mountain Time on Tuesday, November 30, 2021.
Proposers will be notified of their status by Thursday, March 24, 2022.

 

CONSIDERATIONS

  • If the program must be moved from an in-person to an online venue for any reason, the Program Committee reserves the right to request that presenters alter the duration and structure of their presentations to better accommodate the virtual format.
  • All composers whose work is selected for inclusion on the program are required to register for and attend the conference and expected to register by early summer 2022. Performers on the composer concerts areencouraged, but not required, to register and attend the conference.
  • The only instrument provided at the conference will be a piano; all other instruments, including percussion, must be provided by the composer or performer. There is the possibility that pianos may be prepared or altered, provided documentation about how the instrument will be prepared, and a guarantee that no damage to the instrument will be incurred.
  • Composers will agree to have their works performed on any day of the conference should their proposal be accepted.
  • The College Music Society does not fund travel expenses of accepted presenters or performers.
  • Proposers must submit their own work and may not submit proposals on behalf of their students or others.
  • Proposals that promote products and services will not be considered.

 

ELIGIBILITY

Composers must be current members of The College Music Society at the time of submission. Persons interested in submitting a proposal should check their membership status well in advance of the submission deadline. Please note the processing time for membership applications and/or renewals is 1–2 business days.

 

PROPOSAL SUBMISSION & PARTICIPATION POLICY

  • Each member may submit only ONE proposal in response to this Call.
  • Each member may submit TWO proposals to all calls for this conference (e.g., one score with composer-provided performer + one paper), provided there is no duplication. The same score may not be submitted to both calls for original compositions.
  • Each member may be added by others as a co-presenter (e.g., panelist or accompanist) to a maximum of TWO proposals.
  • The maximum number of presentations in which a member may be involved on the conference program is TWO. If more than two proposals involving the same member are accepted – regardless of whether the member submitted the proposal or was added to another member’s proposal – the individual in question must choose in which two presentations they will participate.

 

QUESTIONS?

Questions regarding this call should be directed to:
Eric Hung, 2022 Program Chair

Questions concerning conference operations should be directed to:
Peter S. Park, CMS Director of Professional Activities

 

You must be a CMS member to submit a proposal.
Please log in and the 'Submit' button will appear in this location. Or, click here to join CMS.