Young Composer Competition

A number of young composers have asked for a critique of their music. It's not practical to answer everyone individually, but we will offer some general suggestions, both technical and musical.

• Score: You are the score. When you enter a score that looks bad (hard to read, stapled together, notation on only one side of the page, original pencil manuscript, not spiral bound, etc.), it sends a negative message. It says that you don't care about your music. And, that effects the attitude of the musicians who evaluate and perform your work--i.e., “If the composer doesn't care, why should I?” So, make your scores look professional. Even if you feel unsure of yourself, make the score and parts easy to read, spiral bound, and well thought out with logical page turns. The best way to kill a rehearsal of your music is to have an illegible score and parts. Musicians will spend more time asking questions about the score (“Is this an e or an f?”) rather than playing your music.

• Music: Use strong ideas. It doesn't matter if your piece starts soft or loud, fast or slow, you should present strong ideas--music that makes a definite impression, catches one's imagination, and then does something with it.

• Harmony: Harmonic language is all over the map in the 20th and 21st century. And that's great--lots of possibilities. So when you delve into a new harmonic world, make sure you figure out what to do with it. We see music that starts out with very unusual and interesting harmony, but doesn't know where to take it. It becomes static and lost. Evaluate the harmonic language you're using. Experiment with it. Learn what it is that creates tension and resolution within that language.

• Style: Some of you ask, “What kind of style are you looking for?” We see all sorts of musical style and language. Our objective is to select good music--music that works. The best music is usually informed by a well-trained and intuitively driven musician. Use the musical language that best fits what you want to get across.



			Stephen Feigenbaum wins the 2008 Young Composer Competition
2009 Competition Guidelines (below)
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				NYAE Young Composer Competition "Dedicated to broadening public appreciation of new American music” —NY Daily News
				Congratulations to Stephen Feigenbaum of Winchester, Massachusetts! His composition *Landings,* for violin, cello, and piano, has won the New York Art Ensemble 2008 Young Composer Competition. Stephen graduated from Winchester High School in 2007 and is currently studying at Yale College. He began studying piano in 1996 and composition in 2003. He has studied at the Boston University Tanglewood Institute Young Artists Composition Program and the New England Conservatory Prepratory School in Boston. As the winner of the New York Art Ensemble 2008 Young Composer Competition, Stephen will receive a $1,000 award, a performance, and CD recording of his Landings, for violin, cello, and piano. The piece will be scheduled for performance on the New York Art Ensemble *2008 Tribeca New Music Festival* this coming May in New York City. Runners Up Congratulations to everyone who participated in this national competition. In addition to the winning piece, the New York Art Ensemble wishes to acknowledge some of the other exceptional works that were entered: • The Honorable Mentions category recognizes the top tier of composers that were in contention to win. • The Emerging Composers category recognizes those who have shown great promise with their entries. Honorable Mention (in alphabetical order) There were no Honorable Mentions awarded for 2008. Emerging Composers (in alphabetical order) Andy Costello for his string quartet, For Shumie Terence Hsu for his Catwalk Quintet (flute, oboe, violin, cello, and piano) Jack Hughes for his Piano Trio in C Minor Dayton Kinney for her String Quartet Jeremiah R. Klarman for his String Quartet #2 Tonia Ko for her Three Sketches for Clarinet Solo Todd Kramer for his Scenes from a Train (string quartet) Jane Lange for her Run with the Wind (for piano trio) Elizabeth Lim for her Introduction and Dance (piano trio) Thomas Reves for his Piano Trio Chris Rogerson for his Four Autumn Landscapes (clarinet and piano) Jan Stoneman for his String Quartet #1 William Zuckerman for his Epicycle (for flute, clarinet, violin, cello, and piano)
					General Suggestions A number of young composers have asked for a critique of their music. It's not practical to answer everyone individually, but we will offer some general suggestions, both technical and musical. • Score: You are the score. When you enter a score that looks bad (hard to read, stapled together, notation on only one side of the page, original pencil manuscript, not spiral bound, etc.), it sends a negative message. It says that you don't care about your music. And, that effects the attitude of the musicians who evaluate and perform your work--i.e., “If the composer doesn't care, why should I?” So, make your scores look professional. Even if you feel unsure of yourself, make the score and parts easy to read, spiral bound, and well thought out with logical page turns. The best way to kill a rehearsal of your music is to have an illegible score and parts. Musicians will spend more time asking questions about the score (“Is this an e or an f?”) rather than playing your music. • Music: Use strong ideas. It doesn't matter if your piece starts soft or loud, fast or slow, you should present strong ideas--music that makes a definite impression, catches one's imagination, and then does something with it. • Harmony: Harmonic language is all over the map in the 20th and 21st century. And that's great--lots of possibilities. So when you delve into a new harmonic world, make sure you figure out what to do with it. We see music that starts out with very unusual and interesting harmony, but doesn't know where to take it. It becomes static and lost. Evaluate the harmonic language you're using. Experiment with it. Learn what it is that creates tension and resolution within that language. • Style: Some of you ask, “What kind of style are you looking for?” We see all sorts of musical style and language. Our objective is to select good music--music that works. The best music is usually informed by a well-trained and intuitively driven musician. Use the musical language that best fits what you want to get across.
		New 2009 Young Composer Competition Guidelines Note: The new 2009 deadline is January 9, 2009. “Dedicated to broadening public appreciation of new American music” —NY Daily News The New York Art Ensemble announces its 10th Annual Young Composer Competition. Its two-fold purpose is to encourage outstanding young composers in America and to provide a prominent forum for their recognition. Award and Performance The winning composer will receive a $1,000 cash award and a New York City performance of the winning score during the 2009 concert season, along with a CD recording of the performance. This award is presented at the sole discretion of the NYAE board of directors. Eligibility All composers, who are U.S. citizens or permanent residents, born after December 31, 1986 are eligible. Submission Guidelines Works may be written for solo, duo, trio, quartet, or quintet (from one to five performers). Instruments may include the following: flute (piccolo, alto flute), clarinet (bass clarinet), oboe, bassoon, saxophone (soprano, alto, tenor, baritone), French horn, trumpet, trombone, percussion, piano, violin, viola, cello, bass. Acoustic works that utilize electronic playback are also acceptable. All music must be unpublished and no more than fifteen minutes in duration. Interested composers should submit: • a legible, bound, full score • a recording of the piece on a CD • a biography, with current address, e-mail address, and phone number, and • a stamped, self-addressed envelope, if they wish their music returned. Entry Fee and Deadline The entry fee is $25.00 per work entered. Make checks or money orders payable to the New York Art Ensemble, Inc. All entries must be postmarked no later than Friday, January 9, 2009. The New York Art Ensemble is not responsible for lost or damaged material. The winning composition will be announced on this website Friday, February 20, 2009. Send entries or written inquires to: Young Composer Competition New York Art Ensemble, Inc. 640 West 139 Street, Suite 60 New York, NY 10031 You may e-mail questions to: nyae@aol.com - Website: http://www.nyae.org
	New York Art Ensemble, 640 West 139th Street, #60, New York, NY 10031 e-mail: nyae@aol.com