Save the Date

Vancouver Snapshots 125

Vancouver Snapshots 125

: Saturday, September 10, 2011 @ 8pm
Where: Roundhouse Community Centre (181 Roundhouse Mews, Vancouver, BC)
Cost: $20/regular   $10/student

Community Symposium 1pm – 3:30pm with Guest Curator David Gordon Duke
Concert 8pm with Turning Point Ensemble, Orchid Ensemble and Heather Pawsey, soprano

: Sunday, September 11, 2011 @ 2pm
Where: Dr. Sun Yat-Sen Classical Chinese Garden (578 Carrall Street at Pender, Vancouver BC)
Cost: Free

The musical history of Vancouver is a too well-kept secret! For a glorious September weekend, Turning Point Ensemble with guests, soprano Heather Pawsey and the Orchid Ensemble will unlock the past.

Vancouver Snapshots 125 will bring to life the pre-modern, modern and post-modern through musical snapshots of Vancouver’s past to the present day. With the help of the Orchid Ensemble, the vibrant Chinese cultural experience in Vancouver will be revealed, along with music of Vancouver composers representing the past 100 years including Jean Coulthard, Robert Barclay, Arthur Benjamin, Barbara Pentland, Barry Truax, Alexina Louie, Stephen Chatman, R. Murray Schafer, Jocelyn Morlock, Zhuo Rui-Shi and others.

The Saturday evening program at the Roundhouse Community Centre will be comprised of three unbroken sets of minatures representing three historical periods. Sunday afternoon’s free concert at Dr. Sun Yat-Sen Classical Chinese Garden will concentrate on the rich Chinese cultural traditions in Vancouver.

Everyone is invited to participate in the free Saturday afternoon symposium at the Roundhouse chaired by Vancouver’s resident music historical expert David Gordon Duke and also including William Bruneau, George Laverock and Janet Danielson as panelists. This session will be accompanied by musical examples.

Please find more information at:

August 11, 2011
2:00 pm
September 10, 2011
8:00 pm

Habitation 2012

The Canadian New Music Network

Habitation 2012

January 19-22, 2012

The Canadian New Music Network (CNMN) / Réseau canadien pour les musiques nouvelles (RCMN) is a network of artists, ensembles, orchestras, production companies, record labels, music educators, music media, musicologists, music lovers and fans who believe in the importance and value of creative music making in Canadian society. The CNMN was founded in November 2005, after almost 3 years of discussions with the national new music community.

With great pleasure, the CNMN shares some exciting news with you about a new opportunity to build your network and get to know others who share your belief that creative music making has importance and value in Canadian society.

For the first time ever, the CNMN will be organizing billeting during our upcoming national Forum, January 19-22, 2012 in Vancouver!

To improve communication, understanding and knowledge within the Canadian new music community, the CNMN need to multiply opportunities for you to expand your network and create lasting connections with colleagues from coast to coast.

By nature, the billeting experience is a powerful and unique opportunity to cultivate these connections.  It’s a wonderful way to meet new people or to strengthen existing relationships. The advantages are numerous, both for those arriving from out of town and benefiting from a local host, and for those hosting guests from places that they may someday visit.

We will soon be seeking out assistance in a variety of areas as the planning for Habitation 2012 continues to move forward. There will be many different ways to help make this billeting project a success. We invite you to start thinking about how you might be able to get involved. All levels of involvement will be important!

Right now, we want to know about all the communication resources in Vancouver that could help get the word out [free of charge] about Habitation 2012. When the time comes, we want to be ready and able to build a sizeable list of billeting hosts. If you have ideas, or if you have your own communication resources that you would like to offer, please email

For more information, please visit:

January 19, 2012
January 20, 2012
January 21, 2012
January 22, 2012

Call For New Works For Solo Piano: Ang Li Solo Debut at Carnegie Hall

Call For New Works For Solo Piano: Ang Li Solo Debut at Carnegie Hall

Deadline: October 1st, 2011

Ang Li is a Canadian classical concert pianist and the 1st Prize winner of the 2003 OSM Competition, where she also received the award for Best Interpretation of a Canadian Work.

Ang Li will make her Carnegie Weill Hall recital debut in December 2011. She is looking for a new Canadian work for solo piano to premiere at this event.

She would be very interested to discuss the possibilities with composers who are currently composing a work for solo piano or available to compose it between now and October 2011. October 1st, 2011 is the deadline to submit all program details including the name of the composer and title of the new work.

Please contact Ang Li ( for further information.

Upcoming Concerts:

October 1, 2011

Exhibition: Iannis Xenakis

Vancouver New Music and the Canadian Music Centre present:

Iannis Xenakis

When: September 30 – October 18, 2011 @ 9am – 5pm each day
Where: Canadian Music Centre BC Region (837 Davie Street, Vancouver BC)
Cost: Free Admission

A special exhibition featuring reproductions of images and documents from the Centre de documentation de la musique contemporaine in Paris, France. The panels that make up the exhibit explore Xenakis’ musical works, architectural projects and work with Le Corbusier, theoretical writings and personal life.


About Iannis Xenakis

This exhibition devoted to Iannis Xenakis was designed by the Centre de documentation de la musique contemporaine (Cdmc) in collaboration with Sharon Kanach, on the request of the non-profit organization « Les amis de Iannis Xenakis ».

With the support of the Sacem and the Foundation Francis et Mica Salabert.

It is made up of 16 boards illustrating the following themes or works :

- Portrait of Iannis Xenakis
- Images from a shattered youth
- Itinerary of a forced expatriate
- In Le Corbusier’s Studio
- First musical works
- Electroacoustic research
- An independent architect
- The Polytopes
- Ancient Greece rediscovered
- Polytopes and the Diatope
- Spatialisation
- Stochastics and Game Theory
- Arborescences and Symbolic music
- Sieves and other intuitions
- Writings
- Musical affinities

A musicologic catalogue written by Sharon Kanach is accompanying the exhibition.

Year of creation: 2006
Dimensions: 80×120 cm
Co-production: Les amis de Iannis Xenakis – Fondation Salabert
Conception: Katherine Vayne et Sharon Kanach
September 30, 2011
9:00 amto5:00 pm

Festival: Xenakis

Festival: Xenakis

celebrating the life and work of composer, architect and visionary Iannis Xenakis

Vancouver New Music Festival 2011
20-22 October 2011

Scotiabank Dance Centre (677 Davie Street)
Shows at 8PM
Tickets $20 regular, $15 students & seniors, available through Brown Paper Tickets ( or 1-800-838-3006) and at the door.
Three-night passes $50/$35 available only through Vancouver New Music (604.633.0861) and at the door.

“Listening to the music of Iannis Xenakis…is like being flung back into some fierce atavistic world before culture existed…Such magnificently innocent music is bound to be out of place in our oblique, knowing age, so obsessed with its past, so fastidiously ironic, so concerned, in its art, to layer ambiguity upon ambiguity. That Xenakis could have denied this pervasive cultural trend for 40 years is an amazing feat. Perhaps only someone who had no need of the western tradition, someone whose roots lay elsewhere, could have done it.” – from Iannis Xenakis’ obituary, by Ivan Hewett, published February 5, 2001 in The Guardian

Celebrating the work and influence of one of the most original and prolific creative figures of the 20th century, VNM’s 2011 Festival honours the 10th anniversary of the death of composer, architect and visionary Iannis Xenakis. Xenakis’ works span every media and numerous approaches, from orchestral to electroacoustic to multi-media. Also a mathematician, experimental engineer and architect, theoretician, educator, and author, Xenakis was a true renaissance figure.

For further information, please visit:

Part of Random Elements – a celebration of Iannis Xenakis.

Thursday, October 20, 2011

8PM  -  mini-polytope 01
8:30PM  -  Introduction by Sharon Kanach and James Harley
8:45PM  -  Aiyun Huang (Montreal) and Fringe Percussion (Vancouver)
9:30PM  -  Lori Freedman (Montreal) and ensemble
10PM  -  Ensemble

Buy tickets for Thursday, October 20, 2011.



Friday, October 21, 2011

5PM  -  Something Rich and Strange: The Life and Music of Iannis Xenakis (free film screening)
8PM  -  mini-polytope 02
8:30PM  -  Introduction by Sharon Kanach and James Harley
8:45PM  -  JACK Quartet (NYC)
9:30PM  -  Danny Tones (Vancouver)
10PM  -  Roger Admiral (Edmonton)

Buy tickets for Friday, October 21, 2011. 



Saturday, October 22, 2011

8PM  -  mini-polytope 03
8:30PM  -  Introduction by Sharon Kanach and James Harley
8:45PM  -  JACK Quartet (NYC)
9:30PM  -  Danny Tones (Vancouver)
10PM  -  VEE Audio Installation (Vancouver)
10:30PM  -  Roger Admiral (Edmonton)

Buy tickets for Saturday, October 22, 2011.


October 20, 2011
8:00 pmto10:00 pm
October 21, 2011
10:00 am
October 22, 2011
8:00 pmto10:30 pm

ReSounding Ryerson

ReSounding Ryerson

A benefit concert for Ryerson United Church featuring performances by: Chor Leoni Men’s Choir, Elektra Women’s Choir, EnChor, Ryerson Church Choir, Vancouver Cantata Singers, Vancouver Chamber Choir with Christopher Gaze, M.C.

When: Sunday September 18, 2011 @ 3pm
Where: Ryerson United Church (2195 West 45th Ave, at Yew Street, Vancouver BC)
Cost: All tickets $30

Telephone brownpapertickets at 1.800.838.3006

Also available from choristers.
Information 604.266.5377

An array of Vancouver’s finest choirs will gather on the afternoon of Sunday September 18 (3 pm) to salute the role of Ryerson United Church in Vancouver’s abundant choral scene. For many years Ryerson has been the choral home and preferred performance and recording space of many of the city’s choirs. ReSounding Ryerson  is a choral tribute and thank you to both a building and a church organisation that has recognized and embraced music as an integral part of their mandate.

ReSounding Ryerson  is a benefit concert with all funds raised being donated to the ongoing refurbishment of the church as a performance space.

This notice is being sent to Friends of EnChor. If you wish your name to be removed from this list, please reply to this message with “Unsubscribe” in the subject line”.


August 9, 2011
3:00 pm

The Wiener Konzerthaus’s Composing Competition «Towards the Next 100 Years»

The Wiener Konzerthaus’s Composing Competition

«Towards the Next 100 Years»

Deadline: 1 December, 2011

To mark its 100th season in 2012/2013, the Wiener Konzerthaus is launching an international composing competition, inviting composers aged up to 35 (as of 1 December 2011) to submit compositions in one or more of the following 10 categories:

1. Piano trio and electronics
Desired is a composition for the classical instrumentation of violin, violoncello and piano, innovatively expanded to include electronics.

2. String quartet
2 violines, viola and violoncello

3. Wind quintet
Flute, oboe, clarinet, French horn and bassoon

4. Mixed ensemble
Maximum instrumentation: Flute, oboe, clarinet, violin, viola, violoncello, piano, percussion (woodwinds doubling up with additional instruments). Instrumentation can include anywhere between one and eight of the instruments from this pool.

5. Piano
Piano solo

6. Vocal work
Instrumentation: Large, mixed choir with percussion and organ

7. Composition for children and young people
Piece for ensemble with extractable chorus part (canon, maximum of four parts) for children aged between 6 and 10. Ensemble instrumentation: Flute or clarinet, 2 violins, violoncello; for children aged between 6 and 14, including additional score for a cappella canon reprintable in a songbook.

8. Audiovisual/multimedia piece
Music for up to a maximum of 5 instruments and/or electronics in conjunction with another medium such as film/projections/visuals

9. Chamber orchestra (strings)
Maximum instrumentation: 12 violins, 4 viola, 4 violoncello, 2 double-basses to be divided up at composer’s choice

10. Symphony orchestra
Maximum instrumentation: 3/3/3/3, 4/4/3/1, 1 timpani, 3 percussionists, 1 harp, 14/12/10/8/6 (woodwinds include doubling up)

Duration: In all categories, the total duration of each piece submitted is 10 minutes.

Statement: In addition to the piece of music, competition participants must submit a short statement (in words, pictures or sound) about the role and importance of music in the future.

Submission deadline: In all categories, the pieces and statements must be submitted by 1 December, 2011.

Selection process/awarding of prizes/world premieres:
Juries made up of international experts will award one prize in each of the 10 categories. The winning works in each category will be given their first performance as part of the regular concerts of the 2012/2013 season in the Wiener Konzerthaus. The composers of the winning works will each receive prize money of € 1,000.

Conditions of submission:
Each work must be submitted anonymously so that the identity of the author is not discernible either on the score or on the accompanying statement. The name, address, telephone number and EMail Address of the composer and his or her CV must be placed in a sealed envelope. An identical codeword must be written on both the submitted work and the sealed envelope.

Please send scores (if possible in electronically stored form) by post to
Wiener Konzerthaus
Kompositionswettbewerb 2012/2013
Lothringerstraße 20
A-1030 Wien

If the work is chosen by the jury, the composer is obliged to ensure that the complete performing material is made available in good time.
Questions and queries can be addressed to:
For further information about the organiser:

Wiener Konzerthausgesellschaft (ZVR-Zahl: 748441625) · Lothringerstraße 20 · A-1030 Wien
E-Mail: · Internet: · Tel: +43 1 242 00 · Fax: +43 1 24200-111
Bankverbindung: BAWAG P.S.K. Kto.Nr. 05410-913-943 · BLZ 14000 · UID: ATU 163 63 003 · BIC: BAWAATWW · IBAN: AT471400005410913943

December 1, 2011

The 7th Dutilleux International Composition Competition

The 7th Dutilleux International Composition Competition

The 7th Dutilleux International Composition Competition will be held in Saint-Pierre-Des-Corps (France).

President : Henri Dutilleux – Vice-President : Betsy Jolas

  • 2- The competition is open to composers of all nationalities and with no age limit. Each candidate must present a work from one or both of the following formations :
    Category A
    Quintet with piano – Sextet
    with pianoSeptet with piano / Duration : 10 to 15 mns

    Category B
    Soprano and Quartet / Duration : 8 to 12 mns

  • 3- The competition will be conducted as follows:
    First session (elimination) : the works will judged anonymously.

    The composers must not indicate any codes on their scores. The Dutilleux Competition Organisation Committee check the scores and allocate a special Dutilleux Competition Code therefore ensuring that the composers remain anonymous. Please help us by deleting the following information on 2 of the 3 copies requested: title, signature, name of composer….. We will do this for you if you forget.

    Second session : the works qualifying for the finals will be judged in public.

  • 4- Works must be sent before 31 october 2011 with the stamp well post-marked. Results of the first round will be communicated by post. Three copies of the scores must be sent. Candidates through to the final must then send a copy of each part within four weeks following the annoucement of the results of the firt round.
  • 5- An entry fee of 50 € is to be paid when you enter. Competitors entering several works (in two different formations or in the same formation) will pay
    20 € extra per work.

    Payment methods
    1. Money order
    2. International money order
    3. Bank transfer
    Crédit Agricole Touraine Poitou
    39 avenue de la République
    37700 Saint-Pierre-des-Corps
    For France: 19406-37042-78675510001-43
    For other countries: FR76-1940-6370-4278-6755-1000-143
    Bank identification code (swift) AGRIFRPP894
    4. Credit card using Paypal
    5. Check (French banks only)
    6. Bank check
    *For further payment information, please visit

  • 6- The compositions must be original. They must never have been published, they must never have entered for a similar competition but they can. however have been performed.
    Category A
    1st Prize – 6000 euros / 2nd Prize – 2000 euros / 3rd Prize 1000 euros

    Category B
    1st Prize – 4000 euros / 2nd Prize – 1500 euros / 3rd Prize 1000 euros

    Category A and B
    Public Prize – 1000 euros.

  • 7- Candidates may only claim prizes that they have obtained in the competition. Any false claims will be publicly denounced and candidates prosecuted under common law by Concours Dutilleux.
  • 8- Finalists must remain present throughout the final or be disqualified. The order of rehearsals will be communicated one month before the final. The 1-cults will be declared at the conclusion of the final. Expenses for the finalists will be completely paid by Concours Dutilleux.
  • 9- The decisions of the jury are final and undisputable. The organizers reserve the right to replace any member(s) of the jury who are not able to be present.
  • 10- Should the competition not take place. entries will be cancelled, fees will be refunded, and scores will be returned . Candidates will have no claims whatsoever in the organizers. Entry into the competition requires unconditional acceptance of these regulations. In case of complaints or claims, the only valid text is that of the regulations in french.

To register the 7th Dutilleux International Composition Competition, please click here

October 31, 2011

Call for Papers: Music and the Imaginary of the North and the Cold

Call for Papers

International and Interdisciplinary Conference

Music and the Imaginary of the North and the Cold

Organized by the Laboratoire international d’étude multidisciplinaire comparée des représentations du Nord, Université du Québec à Montréal
Thursday, 19, and Friday, 20 January 2012
proposals to be sent before September 25, 2011

The North, winter, and the Arctic have long interested artists and inspired many choreographic, cinematographic, literary, musical, visual, poetic, and dramatic works in which sound or music play a role. Whether sound and music punctuate a dramatic moment, create atmosphere, suggest an emotion, or are the main centres of interest, works in which they contribute to constructing an image of the North remain little known. How do the North and the cold confront the listener ? In works such as Debussy’s Des pas sur la neige, R. Murray Schafer’s Winter Diary, Glenn Gould’s The Idea of North , Carl Nielsen’s A Fantasy Journey to the Faroe Islands is it possible to identify such a thing as Nordic music ? Through which musical signifiers can one (re)construct the North, winter, and the Arctic ? What are the systems of cultural and aesthetic representation of the North in popular song, opera, classical music, dance music, electroacoustic music, contemporary and new music, film music, novels, poetry, theatre, sound installations or, quite simply, in sound itself ? These are the kinds of questions that will be the focus of this conference, which participants might approach in the following ways (a non-restrictive list) :

  • Music :
    – Imitation, narratives, imaginary of the North, winter, and the Arctic ;
    – Borrowings from traditional Inuit culture: the memory of patrimony and of all forms of life in the Arctic ;
    – To understand snow as a damper to city sounds ;
    – To hear the North as a paean to silence ;
    – Movements, rhythms and timbres of the Arctic, from Kaija Saariaho’s Lichtbogen to Jan Jarvlepp’s Aurora Borealis ;
    – Love in the winter or reflections on references to winter in love songs, from Julien Clerc to Tim Brady.
  • Acoustics :
    – Characterizations of hot and cold in the field of acoustic ;
    – Sonic colours, textures, and timbres associated with cold in music ;
    – Instrumentation and orchestration in musical works that evoke the North or winter.
  • Film, dance, literature, and theatre :
    – References to music in discourse related to cold, winter, and ice ;
    – Ambience or rhythm in documentaries, theatrical and dance productions.
  • Soundscape :
    – Hearing space ;
    – The trace of an artifact : sonic painting of Nordic landscapes or confirmation of identity.
  • Visual Arts :
    – Resonances in installation and art produced in situ.

Papers will be 20 minutes long, followed by a question period of 10 minutes. This call is directed to university researchers and practicing professionals – composers, performers, musicologists, artists, writers, film-makers, actors, geographers, historians, and literary scholars – as well as to graduate students. Proposals must include: title; abstract of no more than 300 words; selected bibliography; contact information (family name, first name, university or professional affiliation, postal address, and electronic address); short biography of no more than 150 words. The proposals (in either English or French) should be sent by email as a Word attachment before 25 September 2011 to Participants are responsible for their own travel and lodging costs. Selection of the program will be made by mid-October 2011. Publication of articles emerging from the conference is anticipated in the collection « Imaginaire Nord | Droit au pôle » published by Presses de l’Université du Québec. A concert will be presented on Thursday 19 January at 8:00 p.m. in collaboration with the Canadian Music Centre of Québec.

This conference is organized by Claudine Caron (Université du Québec à Montréal), Daniel Chartier (Université du Québec à Montréal) and Caroline Traube (Université de Montréal).

For more information, please visit:

September 25, 2011

Call for Scores: 2012 Sonic Boom Festival of New Music

Call for Scores: 2012 Sonic Boom Festival of New Music

*** Featuring celebrated B.C. composer Owen Underhill ***

Vancouver Pro Musica invites any and all BC composers to submit new works for presentation at the 25th annual Sonic Boom festival. This event will be held March 21‐25, 2012 at various venues in Vancouver. Please see Schedule of Events for more information. Deadline for submissions is December 2, 2011.

Composer in Residence: Owen Underhill
Ensemble in Residence: Vancouver Brass Project
Guest Artist: Michael Murray, Pipe Organ

Categories of Submission:
• Sonic Boom welcomes all styles and media (whether acoustic, electronic, electroacoustic or interactive) and composers of all levels of experience are encouraged to apply. Composers can submit works in any of the four categories listed below.
• Composers are invited to submit a maximum of two works for consideration in categories A, B, C; however, please note that at most one work per composer will be selected from these categories for performance at Sonic Boom 2012.
• A composer may also submit one separate work in category D—Electroacoustic. Submissions in this category do not count against submissions in categories A, B, C. Therefore, it is possible for a composer to have two works performed at Sonic Boom 2012: one work from category A,B,C and one work from category D.

A) General Submissions
• Maximum Duration: 10 minutes.
• Number of performers: Works must be scored for 4 or fewer performers.
• Works featuring electronic/tape/interactive music should be submitted in the Electroacoustic Category (see D).
• Video projection is available.
• Proposals for mixed media (dancers, theatre, etc.), web‐based technologies, public art happenings, sonic installations, or other auditory new media works will be considered, but may be limited due to technical requirements. Please include extremely detailed documentation in any of these submissions to aid the selection committee in understanding the technical details of the work.

B) Vancouver Brass Project Submissions
• Maximum Duration: 10 minutes.
• Number of performers: Works must be scored for 5 to 13 performers using the following instrumentation: 4 trumpets (trumpets 1 & 2 in Bb/C/Eb or piccolo, trumpets 3 & 4 in Bb/C or flugelhorn), 3 french horns, 2 tenor trombones (1 with alto/euphonium available), 1 bass trombone, 1 tuba, 2 percussionists.
• Percussion available: 4 tom‐toms, snare drum, glockenspiel, crash cymbals, 2 timpani (26”=low Bb‐E, 29”=low F‐D), tambourine, bongos, finger cymbals, small bass drum, suspended cymbals, marimba, tam‐tam, triangle, wood blocks, cowbell, maracas, congas, timbale, Middle Eastern frame drum, djembe, axatse (gourd shaker), agogo bells.
• Submissions including additional instrumentalists will not be considered.

C) Michael Murray (pipe organ) Submissions
• Maximum Duration: 9 minutes (minimum 3 minutes).
• Number of performers: Works must be scored for one performer.
• Organ type: Three‐Manual Casavant Frères Organ. Manuals = 61 keys each, Pedal Board = 32 keys.
• Please see page 3 for full organ specifications and notice of organ workshop.
• Submissions calling for additional performers will not be considered.

D) Electroacoustic Submissions
• Maximum Duration: 10 minutes.
• Number of performers: Works may optionally include one live performer in addition to one electronics operator.
• Works in this category must include electronically generated or modified sounds; these may be pre‐recorded or produced as part of the performance, interactively or otherwise. A maximum of eight channels of audio for electronic/tape/interactive music is available. For questions regarding technology (including microphones and software), please contact
• Video projection is available.

Submission Guidelines:
• All questions should be addressed to and not to the ensembles directly.
• Deadline: Submissions must be received by Friday, December 2, 2011.
• Submission Fee: $25 for one submission, $40 for two submissions, $55 for three submissions (if three submissions, one must be in category D – Electroacoustic).
• Submitters must be residents of BC, and automatically become members in good standing of Vancouver Pro Musica for one year without payment of dues.
• Works must have been composed by the submitter within the last three years.
• Composers are expected to attend their festival concert and be available to attend rehearsals as requested by the ensemble.
• If more works are submitted than can be performed, Vancouver Pro Musica will employ a panel of experienced composers to guide selection.

To encourage participation, Vancouver Pro Musica will reimburse actual travel expenses of up to $100 each for a limited number of BC composers living outside the lower mainland who have submitted works for Sonic Boom 2011. (Receipts required.)

The festival comprises five evening concerts highlighting the Ensemble in Residence, the Guest Artist, Electroacoustic Submissions, and General Submissions.

Announcement and Presentation of Works Selected
Vancouver Pro Musica will contact all the submitters by early 2012. Pro Musica wishes to be as inclusive as possible, but production costs, time constraints, and other practical concerns may require that not all submitters will have a work selected. Decisions of the panel will be final.

Composers who have works selected for presentation must be ready to provide all required performance materials including parts. Those whose works are presented will receive a modest honorarium and a recording of their work for non‐commercial demo purposes. All submitters, whether or not they have pieces chosen, will receive a complimentary festival pass for Sonic Boom 2012.

Schedule of Events*
Wednesday,    March 21, 2012 7:30pm,    TBD,    Electroacoustic Submissions
Thursday,    March 22, 2012 7:30pm,    St. Philip’s Anglican Church,    Vancouver Brass Project
Friday,    March 23, 2012 7:30pm,    St. Philip’s Anglican Church,    Michael Murray (organ)
Saturday,   March 24, 2012 7:30pm,    The Western Front,    General Submissions
Sunday,     March 25, 2012 7:30pm,    The Western Front,    General Submissions
*Subject to change. Please visit for updated information.

Include in Your Submission:
• Composer Bio* (150 words max.)
• Programme Notes* (150 words max.)
• Submission Fee ($25 for one work, $40 for two, $55 for three) as a cheque payable to Vancouver Pro Musica.
• Two copies of all scores and any desired supporting documentation. Please ensure ONE copy of each component is anonymous (ie. does not include your name or any other identifying features. This copy will be sent to a jury for selection if necessary.) Note that materials submitted will be returned only if claimed at the festival or if all necessary packaging has been provided, pre‐addressed and including postage.
• Completed Submission Form (submission forms can be downloaded (click here to download Submission Form) or from
• Any additional technical information or desired supporting material regarding your submission(s).
• Submissions must be received by Friday, December 2, 2011.

* Please also email an additional electronic version of your Composer Bio and Programme Note to:

Lean more about 2012 Sonic Boom Festival Call for Scores, please visit: or download a PDF here Sonic Boom 2012 Call for Scores


December 2, 2011