Call for Scores: Get your music reviewed

By -
This Call for Scores is not so much a contest as a review of works by current composers. As a composer, I enjoy looking at the works of other composers, so I will be using this to learn about what other composers are doing as well as honing my music analysis skills. The other intent is to provide public exposure to works that have yet to be performed and yet are of a quality to warrant attention.

As the Internet can be a great source of disseminating information, the reviews of the best works will be posted here, with samples of the scores and music in order to give quality works a chance to be heard. Not all scores received will necessarily get a public review, as each review will be returned to the person submitting the score for approval. If the person submitting the score does not want their review posted on this blog, it will not be posted.

Purpose:

    To post reviews of quality scores to allow wider exposure to music which might otherwise be unknown to the general public.

Requirements:

  • Scores are to be submitted in PDF form to: Chip Michael
  • Links to mp3 files must accompany the scores. The mp3 files can be midi realisations, but midi files will not be accepted.
  • Programme notes and composers biography should be included, but not necessary.
  • Only one score per composers, please.

Process:

    Each score will be given a preliminary reviewed/critique direct to the person submitting the score. A rating of 1-5 stars will be given in each of the following categories:
    • Quality of Score - is the manuscript presentable and in a professional format
    • Quality of Concept - is the music appropriate for the instrumentation
    • Quality of Design - is the form of the piece clear and effective
    • Overall rating
    Comments will be given in each category as to the reason for the rating to assist the composure on re-writes or future edits.

    If the score receives an Overall rating of 4 or more, the person submitting the score will have the right to have the review, and portions of the score published on this blog for other readers. The complete score will NOT be made available, nor will access to the mp3 files, as the composer will retain full rights to their work.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In ...
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more